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immaturityofthomasastruc · 3 years

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#5: The One With Astruc's Self-Insert

In my introductory post, I said the main inspiration for this blog was @hypocrisyofandrewdobson. For those who don't know, Andrew Dobson is an infamous webcomic artist known for drawing webcomics that tend to demonize people he's come across in public or people who disagree with him online (either critical of his art or his political views), while portraying himself as the victim or wise man calling them out on their differing beliefs.

If you want to learn more about this guy who I consider to be far worse than Astruc, check out the blog in question. And no, I don't know why he draws himself as a blue bear.

Why am I talking about this? It's one thing for some schmuck on the internet to use his work to respond to criticism, but the creator of a popular animated series dedicating an entire episode to attacking his critics and trying to get others to feel bad for him is another story.

The second episode of Miraculous Ladybug's third season, “Animaestro” served as a wake-up call for fans (myself included) to make them realize how immature Astruc could be. The plot centers around the premiere of a movie about Ladybug and Cat Noir directed by Thomas Astruc, who voices himself in the original French dub.

And this isn't just a brief cameo like what Stan Lee did in the MCU. Astruc is the Akumatized person this episode, so there's naturally a lot of focus on him. Throughout the first half of the episode, Astruc portrays himself as this timid man who nobody recognizes or respects, like this idiot who doesn't know what animation is.

Doorman: This is a private event, sir.

Astruc: Huh? Excuse me? I'm Thomas Astruc, the movie director.

Doorman: You filmed Cat Noir and Ladybug? What are they like in real life?

Astruc: Er, it's an animated movie. It's all cartoon characters. We don't actually film anyone. See, there's this whole team that draw the chara—

Doorman: Whatever. Who would want to see Ladybug and Cat Noir as cartoon characters?

Get it? Wasn't that meta joke hilarious? This is how much I was laughing:

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And Astruc continues to get about as much respect as Rodney Dangerfield when he interacts with other characters like Jagged Stone and Chloe.

Jagged Stone: Ladybug is one of my best buds! I can't wait to see her movie!

Astruc: Well I—I'm the director, so actually it's more my movie, so to speak.

Jagged Stone: Oh, so you're the one who created the story?

Astruc: Well, technically the screen writers wrote the story, inspired by Ladybug's exploits.

Jagged Stone: Oh, okay. So you did all the drawings?

Thomas: No, no. The animators do all the drawings.

Jagged Stone: So what do you do then?

(Later on...)

Chloe: So you're the one responsible for this movie?

Astruc: Yes, yes! Exactly! That's me!

Chloe: Then you were the one who left Queen Bee out of the trailer. You're lame, utterly lame.

I can't believe Astruc had a scene where he interacted with Chloe and didn't insult her at all.

The episode is determined to make the audience feel bad for Astruc. Nobody respects him and what he does. Isn't that saaaaaad? Nobody cares about animated film directors like Walt Disney or Tex Avery anyway. Not even these stupid children understand how hard Astruc works.

Several Children: Ladybug! Where's Ladybug?

Astruc: Hey there, kids!

Teacher: Ladybug isn't here children. We came here to meet the director of the movie. Children: (frowning in disappointment) Aww.

(Astruc looks visibly disappointed.)

Way to insult your primary demographic, Astruc. I thought you said kids have a better understanding of these stories when people criticized the writing of a certain episode (It's that scene in “Puppeteer 2” if you're curious/don't value your sanity).

It's almost like you're using that as an excuse to half-ass your work while still getting to claim this show is so groundbreaking.

In case you can't tell, “Animaestro” is one of those episodes. The ones where the showrunners decide to dedicate an entire episode to attacking critics of the show in a blunt fashion. Whenever a show addresses criticism, they either create an obvious strawman character to parrot the opinions of fans who don't like their work, or have someone defend the show and insult the critics directly.

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The problem isn't that they're ignoring criticism. It's their show, and they aren't obligated to listen to critics or fans who don't like the direction the show is taking. On the other hand, they aren't obligated to fight back like this and treat their audience like crap. Any show that does something like the three clips I showed you usually comes off as petty and immature because they dedicate so much time to insulting the critics.

Even during the Akuma fight, Astruc has to call out Ladybug for having problems with his movie in-universe, obviously representing critics of the show Astruc claims have no right to criticize the show while it's still airing.

Ladybug: What's with that trailer too? I am not scared of cats, at all.

Astruc/Animaestro: You haven't even seen the movie and you're already slamming it?

Cat Noir: He does have a point, you know.

Ladybug: I wasn't slamming it. It's called constructive criticism!

Yeah, how dare Ladybug be angry that this movie is portraying her as a powerless coward dependent on Cat Noir as opposed to a confident and brave superhero. She just doesn't understand the genius of Thomas Astruc!

And of course the character Astruc claims is “perfect” is the one to take his side.

And that's another problem with this episode, the metatextual references. Before he gets akumatized, Astuc says he spent three years of his life working on his movie. I get that time in this show is weird (we somehow had episodes taking place on the first day of school, Christmas, Valentine's Day, and the first day of Summer), but how did Astruc's self-insert work on a movie based on a superhero who has only been active for a year? Meta-wise, it's an obvious reference to the scorn Astruc has gotten from fans after working so hard on his show, but the only people who would get that reference are the ones who are aware of Astruc's reputation online.

Self-Insert aside, I actually think the titular Animaestro is one of the more visually impressive Akumas featured on the show. Animaestro takes on several forms based off several different forms and eras of animation, like flash, anime, rubber hose, and they all stand out. Granted, some of them are obvious parodies of other characters like Goku or Sailor Moon, but the actual Akuma fight is fun to watch. According to the Mexican Miraculous Ladybug Twitter account, this episode took two and a half years to create, and it shows. It's too bad the story behind it is completely insufferable, almost like the cartoon equidistant to Pixels.

But then comes the part that honestly makes the episode worth it, mainly for how unintentionally hilarious it is. Do you want to know what Animaestro's weakness is? Do you really want to know?

Animaestro is physically incapable of moving unless someone is watching him. I am not making this up.

Ladybug and Cat Noir literally defeat Animaestro by getting everyone to stop paying attention to him.

I could make so many jokes with this, but I can guarantee you're already thinking of something just as good, if not better, than whatever I write.

And there's the end where Astruc gives Marinette his ticket to the movie, which prompts Marinette to kiss up to him for no real reason.

Astruc: Sorry, I guess you don't know who I am either.

Marinette: Of course do. You're Thomas Astruc, the movie director!

Astruc: She recognized me. Somebody actually recognized me!

Nothing happened to make her change her opinion on the Ladybug movie, she didn't really say anything to him earlier in the episode that connects to this exchange, and outside of a few lines Animaestro said, she doesn't even know why he got akumatized (even though ironically she and Chloe accidentally contributed to it because of the awful subplot involving Kagami I talked about last time). If anything, it comes off less like she actually appreciates Astruc's work, and more like she's stroking his ego just to keep him from getting akumatized again.

So yeah, this episode is awful, and the fact that it came out right after the controversial “Chameleon” only proved to show what kind of direction the show was taking this season.

But honestly, even if Astruc still wanted to make about how he doesn't get enough respect the episode could have potentially. All he had to do was make a simple change: Instead of making it about validation for Astruc as a creator, make it about validation for animation in general.

It's a common misconception that animation is only used for shows and movies aimed at children, so the episode could reflect it. Instead of the huge turnout where several celebrities appear at the premiere, instead, the turnout could be a lot smaller, with the media dismissing it as some stupid kiddie flick. Instead of getting akumatized because he gets humiliated in public/getting no respect from anyone else, Astruc gets akumatized because he sees the audience didn't go wild for the movie after the premiere. All he can hear them say is that it's just “kids stuff”.

So when Astruc is Animaestro, he goes on about how important animation is. How it's helped produce propaganda since World War II. How it helped improve special effects in big blockbusters. How the medium is used to create movies that simply can't be filmed on a physical set.

After defeating Animaestro, Ladybug shows up to talk to him. She had seen the movie earlier, and actually enjoyed it. She had a few problems with the story, but they were just minor nitpicks and inaccuracies Astruc wouldn't know about, and she was blown away by the animation. She tells Astruc not to be deterred by his critics, and continue to do what he does. As a designer in her civilian life, Ladybug knows the joy creating brings her, and both she and Astruc want to spread that joy through their work.

Back at the premiere, Astruc thinks about what Ladybug said to him when he sees some kids reenacting a scene from the movie. Astruc walks over to them and asks what they thought of the movie. They said they loved it and how energetic it was. When he tells them he is the director, the kids' faces light up and they say they want to do what he does when they grow up, bringing a smile to Astruc's face.

Isn't that a much more humble approach instead of what we got? It would have helped Astruc come across as more sympathetic, especially with animation fans. But instead, we got an entire episode of Astruc whining about how misunderstood he is.

And you know the footage used for the movie at the beginning? Remember that, because I have a huge rant about it saved for a later post.

For now, here’s an example of a creator appearing in his work done right.

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calliecat93 · 3 years

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ST: TNG Watchthrough Episodes 17-20.

Home Soil: So from what I’ve read, this would be Gene Roddenberry’s final episode as showrunner before getting replaced by writer Maurice Hurly. I won’t comment on the behind the scenes drama and such that caused it because it was decades ago and not relevant for a First Watchthrough post, but since this is the last I wanted to make note of it. My thoughts? It was okay. This is very much borrowing from the TOS episode Devil in the Dark (the one with the Horta) with the plot being of an alien presence killing humans... but only because the humans were unknowingly causing it harm. It’s done fine enough, not being any better or worst than when TOS did it, but that’s about it. It does executed it a little differently with the events and the alien is FAR less willing to comply than the Horta was at first and ends with the alien backing down, but refusing contact with humans for three centuries, which DOES make it a nice contrast to how Devil in the Dark ended. It’s not great. It’s not horrible. It’s just okay with the biggest criticism being pulling too much from TOS again. Look, I love TOS and so far TNG hasn’t passed it. I outright have a 30 disc Blu-Ray set coming in the next few days of all the TOS material, including TAS and the films. If I want to revisit TOS, I’ll go watch it or read fanfiction or heck, go watch AOS. TNG has remained painfully average or not good at this point because it’s trying to retain what TOS had, despite it being over 20 years later and even the TOS films had changed how it did things compared to the show. Whatever one feels about Roddenberry, his removal I hope helped push TNG away from TOS and let it carve it’s own identity while still honoring what TOS had stood for, and according to history it did. Not sure if we’ll see the quality go up in these final few S1 episodes, but still. Sorry, felt appropriate to finally get this out here. Going back to the episode, it’s perfectly fine and it delivers it’s message well, and hey it’s not always a bad idea to showcase the same themes as the previous incarnation in a spinoff especially fi a relevant one/gets shown to viewers who hadn’t seen that TOS episode. Not the best, not the worst, and that’s not such a bad way to end up. 3/5.

Coming of Age: Alright Wesley, it took a bit but you’re starting to grow on me. So we have Wesley going through a test to get into the Academy while Picard and the crew are dealing with some rough interrogations and Picard being painted as an incompetent captain by the interrogator. They don’t seem that connected, but infact the latter is a test for Picard to determine if e’s ready for a promotion. I like how they bring up Picard’s actions in past continuity that WOULD present him as at least fallible to major error, ignoring certain conditions that caused it to begin with and how he got them out of the situation. Like I said, this was one of Wesley’s better episodes. While doing well with testing, his worry about the psyche test and not knowing his own fear and therefore worried about what the test will unleash upon him is very relatable. Heck his talk with Worf was a really nice scene, especially with Worf outright stating that only fools fear nothing which in turns add more depth and dimensions to the Klingons. The reveal fo his greatest fear, while I wish he had hesitated a little bit more, made perfect sense and he acted as a true Starfleet Officer. Which since this was before Undiscovered Country, is a VERY positive development. Picard guiding a kid who made a stupid decision was also good and shows why he’s a good captain, and his talk to him as well as encouraging a disappointed Wesley at the end was a nice moment to cap the episode off with. As far as Wesley goes, he may still be presented as too competent and intelligent, but he is more likeable and the testing setting allows him to shine like this without, again, affecting the adult characters. Plus text anxiety is super relatable haha. Now of course due to Status Quo is God, Wesley fails, but he takes it well and proved that he will be ready for it in the future. It was a pretty nice episode all in all. Nothing spectacular, but I enjoyed it, neither plot overpowered the other, had a good theme of one’s integrity as a person/doing your best, good use of past continuity, and it really shows the best in characters like Picard, Wesley, and the crew’s loyalty to the former. 4/5.

Heart of Glory: Back in TOS, the Klingons were depicted as war-loving jerks. They weren’t without some depth and episodes like Day of the Dove did attempt to give them a bit more positive limelight, but it wasn’t enough to overpower the one-dimensional characterization. The films were a bit better, Undiscovered Country especialy, but that one hadn’t been made yet and they still stuck with the ruthless characterization, just changed up the makeup to make them look more alien like. It was weird sicne whenever I ddi watch TNG back when that’s all I knew of Star Trek, Worf never came across like a ruthless warmonger but like an honorable warrior which made him stand-out amongst the cast for me (that and because I freakin’ love Michael Dorn due to his animation voice over work, anyone else remember I.M. Weasel? XD). So now we get an episode where Worf gets to interact with other Klingons. I lift a brow at Worf not knowing about most Klingon customs when he seemed perfectly knowledgeable about i in past episodes. Maybe that wad due tot he shift after getting rid of Roddenberry/ IDK, but these kinds of retcons happens sometimes. This was an interesting one for sure. The Klingons are much better presented here than the entirety of TOS, showing more of their culture/customs and compared to Worf, who was raised by humans and therefore not fully in touch with his people and their ways. This is probably one of, if not the first time he’s interacted with his full culture and naturally he’d want to interact with them and learn more now that he has the chance. There’s the themes of one growing in another culture, how they adapt while still trying to be part of that culture, and finding one’s own path. There is the question on why Worf wans’t just returned tot he Klingons as a child and IDK if they address it down the line, but that type of life and struggle with identity/culture clash due to upbringing IS real and VERY relatable. I’m really glad to see the Klingons fleshed out past their TOS depiction and it’s overall respected by the cast, showing how far things have come since Kirk’s time. It fleshes out Worf’s character a great deal and makes him more likable/relatable and giving him a very realistic struggle, and in the end he stands by his beliefs and even gets the respect and offer to serve with Klingons in the future by Klingon Captain K’Nera. Very much glad that I watched this one~ 4/5.

The Arsenal of Freedom: Oh boy, war machines that killed everything! That theme never gets old! I’m not joking, with how modern warfare and technology are growing and being sold for profit, it feels like it just keeps getting more and more relevant. There’s a lot of tension in this one with Yar, Data, and Riker dealing with the arsenal that is intelligent and they’re unable to be beamed up, the ship getting attacked with Geordi in command and the Chief Engineer (they seem to go through a LOT of those this season, guess they couldn’t handle the strain of acting as miracle workers like Scotty) being an asshole to him, and Crusher injured with Picard trying to keep her alive and not get killed. Seriously, I loved Geordi here for being an effective acting commanding officer during a VERY intense situation AND telling off the Chief Engineer without even so much as raising is voice while encouraging the other officers. Badass and admirable. The away team scenes were also good with everyone being plain awesome~ Crusher having to explain to Picard how to treat her injuries while she’s in obvious pain was really good character stuff and Thank God that they avoided indulging in the obvious shipping fodder. I know they’ve hinted a little at Picard/Crusher... but I’m not really interested in it int he romantic sense at least currently. It comes off as a Captain and CMO trusting the other (not quite the same as say... Kirk and McCoy, but the trust is very much strong here plus Picard and Crusher should be allowed to form their own dynamic) and that’s the kind of interaction I live for~! It feels like everyone got a moment to shine, even Troi checking on Geordi’s mental well-being and letting him express some of his nervousness was really nice. And of course the arsenal having destroyed their own creators... like I said, a theme that just seems to grow more and more in relevance. Like I said above, some themes are necessary to repeat, and this one very much qualifies. But yeah this was great for it’s tensions, the characters being all great especially Geordi, and it’s themes (even fi IDK how intentional it was) being a huge reminder of the dangers of modernized warfare/using warfare for profit. It doesn’t go well. 4.5/5.

Okay, it’s late in the season, but we are FINALLY getting somewhere! The characters have truly grown on me and their characterizations are getting better (i.e. Picard is still a serious captain, but is very much warming up and not as cold as he was early on), the stories are steadily improving, and even with what I said about the first one, I really enjoyed this batch of episodes! Only five remain in the season, and the plan is to knock ‘em all out tomorrow. Might take a day or two off before tarting Season 2, but golly I’m finally feeling excited~!

#st watchthrough

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a-man-for-hire-and-his-archives · 5 years

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The ‘Lost In Space’ Cast Takes Us on a Journey About The Reimagined Classic

Looking for your next binge-worthy series? Look no further than Netflix’s original series,Lost in Space. The show is a re-imagining of the classic 1960s TV series, updated for today’s audiences.

Lost in Space follows the Robinson family, space colonists who crash land on a distant planet. At the end of the first season, they somehow survive their ordeal but find themselves in a precarious position, yet again. I chatted with the cast members of the show: Molly Parker (Maureen Robinson), Toby Stephens (John Robinson), Ignacio Serricchio (Don West), Max Jenkins (Will Robinson), and Mina Sundwall (Penny Robinson). We discussed their characters and their experience on the series.

How did you become part of the project? What drew you to the role, and were you a fan of the original series?

Molly Parker: I did not grow up watching the original series. I didn’t have that much TV in my house when I was little. I remember seeing bits of it. When my agent first called me about it, I thought, “I don’t know if that’s what I need to be doing.” Then, I read the script and I got on the phone with the creator. It was exciting that this character on the show was inverted from the kind of archetypal gender roles of the mom and dad. She’s a hero. She’s coming from this kind of really scientific, engineering, logical brain, and every problem has a solution. She’s not particularly emotionally intelligent, which is not the place that a lot of female characters are written from. Yet lots of women come exactly from that place. I just love that she’s quick to action. My first questions [in playing Maureen] were really like, “What’s wrong with her?” She’s a brilliant scientist and she’s this great mother, but she does all these things. What’s her problem? What makes her interesting? That was exciting about doing it. Certainly, I think people can see her as the sort of American hero, which makes me laugh, but then I’m always trying to scrape out the corners of those places and find where she’s wrong and where she’s flawed and where she’s screwing up. There’s lots of opportunities for that, because basically, for all her good intentions, she is the one that wants to go to space. She’s the one that puts her family in a situation where they’re constantly almost dying. [Laughs.]

Toby Stephens: I wasn’t really a fan of the original series. I didn’t really watch [the show]. I saw a couple of episodes when I was a kid. It wasn’t that I didn’t like it, I just didn’t really know it. I was much more of a Star Trek person when I was a kid. That was my meat and potatoes in terms of sci-fi. I watched Space 1999, which we used to have in the UK, and Doctor Who, but I didn’t really watch Lost in Space. Then when this came along, I was dubious only because I had that distant recollection of what it was. I remember the film remake being a bit of a disaster. So, I thought, Is this something that’s going to be worth doing? I read it and then I thought, “This is great. I love this. I love this take on it.” I like that it was very believable, somehow. I believed in this family. What’s great is that it’s a family that is not some sort of perfect apple pie family. It’s this kind of slightly dysfunctional, very real family with real problems that just happens to be in this context of being lost in space. l like the fact that its sci-fi — it’s not a space opera. It’s couched in some kind of scientific reality. I actually found that really interesting. Then I knew Neil Marshall, who was directing the first few episodes and was one of the original creators, spoke to me about it. Then I spoke to Zach [Estrin, showrunner], who talked me into doing it. He told me the story arc of John and Maureen, particularly. I really liked the idea of him being this archetypal character. The strong father, but he wasn’t a very good father. He was learning to be a better father. That really appealed to me. I think what I liked about it was that a lot of parents who are watching it with their kids can really identify with those characters. Most parents are good people struggling to do the right thing for their family, and at times feel like they’re failing. You’re doing this tough job, being a parent and not getting it right.

Ignacio Serricchio: Yes, I was obsessed with the original series because Guy Williams, after he finished Zorro, I wanted to know what else he had done after Zorro. I noticed he did Lost in Space. I wasn’t a fan of space and science fiction, but what caught my eye with this show was that it was so family oriented. My family is absolutely everything in my life. I could relate to that. When I was a little kid, I watched the reruns. I loved the family dynamic. On top of that, there’s a robot and a chimp. Chimps are one of my favorite animals. I think I’m a chimp. I actually think I’m devolving as we speak. I find more hair on my shoulders; I’m walking with my legs open more. It’s a weird transformation. [Laughs.] The project caught my eye, and I got the audition. Immediately, I got super giddy, but at the same time, I told myself to control myself. I said, “You’re probably not going to get it. They’re going to go with a white person. I don’t know why my mind was thinking this way. I thought, Don’t get too excited, because it’s going to be heartbreaking. So, I went into the audition very relaxed, just going to do whatever I wanted to do to entertain myself. I least will get out of it a fun experience. Then, they called when I was in Vancouver shooting Girlfriends Guide to Divorce. My manager called me saying, “They want to fly you down to meet you and read for the part,” and I said, “Do they fly everyone down because they have a lot of money? Or is it like on a special thing?” These are all questions that are going through my head. Then, it turned out good.

Max Jenkins: What got me involved in the project, actually is a funny story. I came home from school one day, doing my normal thing as a sixth grader. I go upstairs and I see this copy of a script on a table. I start reading through it. Then, I asked my mom, “Hey, mom, what’s this Lost in Space?” And she goes, “Yeah, that’s the script but we’ll pass on it because it takes you away from home too long.” And I said, “It has a robot, and I get to be in space. I get to wear spacesuits. I really want to do this.” One thing led to another, and now I am Will Robinson. I watched the original series, and our director for Season 1 recommended a few movies: Black Stallion, ET, and my favorite, of course, The Iron Giant. I also got to become friends with the original Will Robinson, Bill Mumy. That really helped me form my character. We became great friends. We bonded over music, and we bonded over Will Robinson, our love of sci-fi, and comic books. He’s a big Bucky fan, and I’m a big Captain America fan.

Mina Sundwall: I auditioned for the role of Penny. I got a call from my agent that they were doing a remake of Lost in Space and that they were looking for a Penny Robinson. I met with the showrunner, Zack Estrin, and some of our producers and our writers. I was drawn to Penny immediately because I see a lot of myself in her. She can be very sassy and very quippy. She thinks more than she says a lot of the time, in the sense that she is one step ahead of a lot of people, even if they don’t know it, which I was really drawn to immediately. She’s very smart. She’s very generous. I admire her and I respect her a lot, especially after now having been with her in my head for two seasons. I’ve seen her grow a little bit. Immediately, I was drawn to those qualities about her. I did see the original series, and I thought that it was very funny. I love it a lot. It’s definitely different from our version of the show. Yes, it is. It has its own charm that I love a lot.

What can you tell us about Season 2?

Toby Stephens: The next season picks up where we left off, and it just expands everything. What I love about an American TV series is generally if it’s successful, they want to make it even more successful. They want to take all the way, and they’re constantly improving things. That doesn’t necessarily mean you just spend more money and throw more money at it. It’s more about how can we take this and make it better, more entertaining, more fun for the audience, and just make the story more satisfying? It’s really a continuation of where we were, but expanded. Who were the robots? Where did they come from? What is the mythology behind them? What is the science behind them? Who made them? Where is Will’s robot? Are we ever going to see him again? We know all of that stuff. What is Smith going to do next? They’re stuck with Smith; she’s stuck with them. How far is she willing to go to survive? How does this family dynamic develop as the kids grow older? We watch them grow older, and we watched the parents grow. How does that change the dynamic? It just seems to get bigger and bigger.

Ignacio Serricchio: I can tell you that it’s going to be incredibly mind-blowing. Honestly, just from me being on set, I knew that it’s going to be gigantic. I cannot even wait as a fan to watch it when it comes out. I’m a fan of our editors, and I’m a fan of our effects department. Those are things that I have to wait to see until it comes out so I can watch it with everyone else. There’s so much of it that we don’t get to see in the final product. I know it’s going to just blow everyone away. I’m going to react the same way people who were not in the show are going to react. That’s what I can tell you. I’m really, really excited as a fan, not just as an actor.

Max Jenkins: The second season is going to be humongous. It is going to be out of this world, no pun intended. We have an amazing new director. He’s our producing director, and he really led us through this journey. His name is Alex Graves. He directed for Game of Thrones and Homeland. He took us to Iceland, which was really amazing. We spent about a week or so in Iceland, filming from glaciers to waterfalls to black sand beaches. That was really amazing. We went to Drumheller, Alberta, where you see a bunch of dinosaur bones lying on the side of the road. He really helped me build a new Will Robinson, which was amazing. He really helped me age Will Robinson up a little bit. He made him older, a bit stronger, a bit wiser, but he didn’t change who Will Robinson was.

Mina Sundwall: For the family in general, I have to say, look forward to bigger, more scarier, more answers, more questions — exploring much more space, more robots, more creatures. For Penny, as far as growth goes, it’s a lot about finding her position and what she can contribute to the family, given that she isn’t the science one. Towards the end of Season 1, she felt quite lost and a little useless. In Season 2, you see her begin to find what she can contribute and use that to help the situation. I don’t think that her growth is done whatsoever. I think that it’s only started.

The Robinson Family and company will return for a second season. Netflix has not dropped a release date yet but rest assured another season will be on its way. In the meantime, you can stream Season 1 of Lost in Space on Netflix. The complete first season is also available on Blu-Ray and DVD. The Blu-Ray/DVD combo pack features extras and behind the scenes you won’t see anywhere else. Here’s hoping we’ll see the Robinsons soon.

credits to BlackGirlNerd (x)

#lost in space #toby stephens #interview #season 2

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postmodernmulticoloredcloak · 5 years

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Supernatural stars cover EW to celebrate 300 episodes (and an epic reunion)

Samantha Highfill

January 16, 2019 at 12:00 PM EST

“REUNION TIME!”

Jared Padalecki is making an announcement. It’s early December, and he and his Supernatural costar Jensen Ackles are preparing for their final two days of filming the 300th episode (Feb. 7) as demon-hunting brothers Sam and Dean Winchester, respectively. As they walk onto the Men of Letters set on a rainy Thursday, they come face-to-face with Jeffrey Dean Morgan, a personal friend and the man who brought Papa John Winchester to life in the show’s pilot (and left the show after season 2). “It’s the culmination of 300 episodes,” Padalecki says of Morgan’s return. After all, John’s disappearance kick-started the brothers’ road trip.

“DAD’S ON A HUNTING TRIP, AND HE HASN’T BEEN HOME IN A FEW DAYS.”

Standing in his little brother’s college apartment, Dean Winchester first uttered those words in the pilot, and in doing so, launched Supernatural’s — and the brothers’ — first big mystery. “I had a good feeling about the show just reading the pilot,” Ackles says. “It had grit, the characters were well-written, and the story had miles to go.” Although he couldn’t quite predict how many miles the journey would be.

Supernatural premiered on The WB in 2005 and has since become the longest-running show in The CW’s history. The idea was simple: two brothers hunting monsters from urban legends, the kinds of things you’d hear about while sitting around a campfire. Bloody Mary? They killed her. Hook Man? Yep, him too. But it didn’t take long for the writers to understand that they might have to broaden the scope of the show if they wanted to get 20-plus episodes (much less 300). “We quickly realized that [conceit] would run out in a hurry, so even early on we expanded our horizons of what the show could be,” executive producer/co-showrunner Robert Singer says. But just how far could they stretch? And would they even get the chance?

Despite surviving the 2006 WB–UPN merger that created The CW, it took years forSupernatural to land on solid ground. “Bob Singer and I were fighting for the show’s survival at the ends of the first three seasons,” says creator Eric Kripke. “We’d have a meeting with the network that we informally called the ‘explain-why-we-should-give-you-another-season’ meeting.” And yet there was something about those conditions that felt right for a show about two humans trying to save the world from superhuman forces. As Dean recently said in a season 14 episode, “Impossible odds—feels like home.” But the land of impossible odds isn’t simply where the show (and the Winchesters) lived in those early years. It’s where they thrived. “In the beginning we almost mischievously wanted to see what we could get away with,” Kripke says. “There weren’t a lot of genre shows on The CW. It was mostly Gossip Girl and 90210. We were always like the goth kid at the back of the class that no one really wanted to pay attention to. So on this little weird horror show, we really got to push some boundaries that hadn’t been attempted in TV. There was no one saying, ‘That’s too crazy.’” So they took risks. They wrote a Groundhog Day-style episode called “Mystery Spot” that saw Dean die more than 100 times in one hour. They created “Hollywood Babylon,” an episode where Sam and Dean investigated a haunted horror-movie set. They produced “Ghostfacers,” an episode shot to look like a reality show about ghost hunting. “We always felt like we were on tenterhooks a little, but it helped us in a way,” Singer says. “We said, ‘If they don’t like us, let’s be bold.’ ” And in season 4, they made perhaps their biggest, boldest decision yet: They introduced angels (and therefore a much more religious story line) into the fold, which Singer identifies as the show’s biggest turning point. “I was concerned that would be a bridge too far,” Padalecki says of the angelic decision. “I wondered, ‘Are we going to turn o a lot of the people that came here to watch a scary movie?’” Kripke himself had fought the idea for years, until a pre–season 4 epiphany came to him while he was washing his face, of all things. “I realized the supernatural world was unbalanced,” Kripke says. “There was only evil. So I walked in the writers’ room on day one of season 4 and said, ‘Okay, there’s going to be angels…but they’re dicks!’”

Thus began what Kripke, who’s since created Revolution and co-created Timeless, still believes is one of the best hours of television he’s ever written: the season 4 premiere. “Lazarus Rising” introduced Castiel, the show’s first and longest-lasting angel. “Right before my scene, [then writer] Sera [Gamble] said, ‘Your life is about to change,’” remembers Misha Collins, who plays Castiel. He adds with a laugh, “I was like, ‘You’re so full of yourself.’” But Collins’ life did just that when he shifted from being a guest star to a series regular as his character survived multiple deaths — and even a brief stint as God — to become someone Sam and Dean consider family. “Angels completed the mythology,” Kripke says, and with them, the show was able to build to what writer-turned-showrunner Gamble refers to as the “regularly scheduled apocalypse” at the end of season 5. It was good versus evil. Michael versus Lucifer. Dean versus Sam. And for a while, everyone believed it was the end of the show. But when the network gave them a renewal for season 6, the writers were left to figure out what the heck comes after an apocalypse. The answer? Anything they wanted.

“A benefit of genre is we have such a huge runway in terms of ‘anything can happen,’” then writer and current co-showrunner Andrew Dabb says. “A medical show is limited in the scope of what they can do. We’re not.” So the next few seasons saw Supernatural push even more boundaries, with alternate realities, meta episodes (“The French Mistake,” anyone?), and new villains. That’s not to say everything worked, but that’s the beauty of a long-running show with a devoted audience — everything doesn’t have to work. “Fans would forgive sins of certain episodes because they love watching Sam and Dean,” Singer says. Because saying Supernatural fans like Supernatural is like saying Dean likes pie. It’s not about liking it. It’s about loving it. “I don’t think we have casual fans,” Singer says. “They live and breathe this show.” The #SPNFamily gathers all around the country (and globe) for multiple conventions each year, and every July they ll the largest venue, Hall H, at San Diego Comic-Con. It’s those fans who are devoted to Sam and Dean, even when their Impala might take a wrong turn. “The show’s ability to evolve and adapt is what’s led to it lasting 14 years,” Dabb says, adding, “Theoretically there are still a bunch of Leviathan out there running around that we never dealt with, but we don’t talk about that.”

Limitless options and viewer forgiveness aside, there is one rule the show has to follow — outside of standards and practices, that is. “I credit Bob Singer for instilling from very early on the idea that the show can go anywhere as long as the characters stay true to themselves,” former showrunner Jeremy Carver says. “The core of the show is the bond between the brothers.” With Sam and Dean as its foundation, the show can make episodes like season 11’s “Baby,” which was shot entirely from the perspective of the Impala, or season 13’s “Scoobynatural,” an animated crossover with Scooby-Doo and the gang. “One of the fun takeaways of watching Supernatural is that if you can imagine it, there’s probably a little town somewhere in America where it’s happening,” Gamble says. “It’s unlike any other show, really, in the history of American television.” And 14 seasons in, it’s still finding ways to surprise fans by, say, bringing John Winchester back.

“DAD?”

Standing next to his little brother in the Men of Letters bunker, Dean can’t believe what he’s seeing. This time he’s not enlisting his brother to find Dad, because Dad has come to them. And he hasn’t changed much. His beard has more gray in it and his face is thinner, but it will surprise no one that John comes back with a rifle in his hand. (Sorry, Walking Dead fans; the rifle came before Lucille.) But John isn’t the only one who’s changed. Standing across from him, Sam and Dean are no longer the kids who crammed toy army men into the ashtray of the Impala, or even the young men who went looking for him in the pilot. They’ve grown up. Their lives, quite simply, have changed. The same can be said of the actors themselves. In fact, Ackles is currently two years older than Morgan was when he filmed the pilot. “That’s how full circle it all is,” Morgan says. “Like a father would be, I’m very proud of the guys. It makes me get choked up because they’ve done so well here. Episode 300? That’s unheard of.”

As for how John comes back, let’s just say things get weird — don’t they always? — and there’s an altered reality at play. “Our guys are put in a position where they essentially can have a wish granted,” Dabb says. “They’re actually expecting something else, but [John’s return] comes from a place of want by Dean. The need for closure is really what brings John back into their lives.” But John isn’t the only person who comes back into their lives. As with any altered reality, not everything changes for the good. Without getting too specific, whatever brings John back also causes the return of Zachariah (Kurt Fuller), the no-BS angel who saw Sam and Dean as nothing more than thorns in his side. (Like Kripke said, angels are dicks!) Speaking of angels, this reality also affects Castiel in… certain ways. This time the boys are dealing with a different (though not entirely unfamiliar) version of their friend.

But for Morgan, who’s been asked for years about returning, it has always been about bringing John back in the right way. “The relationships between these three men were so open, so if I was going to come back, it would be nice to have some closure, especially with Sammy,” Morgan says. And before the hour’s over, both boys will get a moment alone with Dad. “This episode gives Sam a chance to forgive,” Padalecki says. Ackles adds, “For Dean, the whole episode is a dream that he doesn’t want to wake up from. But he knows he has to.”

Back in the bunker’s kitchen where Padalecki declared “reunion time” just hours ago, Sam and Dean are sitting around a table sharing a bottle of whiskey with their father and catching him up on everything he’s missed. Yes, they’ve saved the world (more than once). Yes, Lucifer has a son. But most important, John’s late wife, Mary — the woman he spent his life trying to avenge — is alive. Right then Mary rounds the corner for the moment she never saw coming, but in a strange way has always been waiting for. “Everything’s right in the world in this bubble of time,” Samantha Smith, who plays Mary, says of the couple’s reunion. “It’s very romantic.”

But as the Winchesters know a bit too well, all good things must come to an end. And when this is said and done, Sam and Dean will return to their life, driving down crazy street next to each other. Because despite the show hitting 300 episodes, nobody’s ready to call it quits just yet. “I don’t think we’re ready to throw in the towel,” Ackles says. “We’ve still got a little gas in the tank.” Put another way, Sam and Dean still got work to do.

#long post #spn spoilers #spn 300 #spn 14x13 #entertainment weekly #spn cast #good dabb #kripke #spn

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archaeopter-ace · 5 years

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ok you seem like a rlly good person to come to for arcadia meta. so. Unless it's been addressed in canon and i just forgot it, do you think trolls tried to remain hidden from human society still after the eternal night? Personally i can see that even if they TRIED, they'd fail because well. literally everything about that brouhaha was absurdly attention-grabbing. not to mention all the changelings over the world suddenly poofing back into trolls after their familiars were retrieved.

Aw, thanks! ;D What a good question! We see that the people of Arcadia, at least, are not going to be able to stick their heads in the sand regarding the swirling vortex of doom and the gumm-gumms and all the structural damage done to the town. But we don’t know anything about how much attention the rest of the world was paying to them on the Eternal Night. The eclipse Morgana created was not global - it was more like some intense magical cloud cover, as we see from some aerial shots when Darci was lifted above it by a stalkling. Do magical clouds show up on doppler radar? Probably - but that wouldn’t immediately lead people to think ‘trolls,’ just that Arcadia was meteorologically interesting for a day. Similarly, the tremors could be dismissed as earthquakes, and while seismologists might be scratching their heads over the fact that none of their instruments gave them advance warning, it too could be brushed under the rug.(that’s if the shaking in Arcadia even registered as an earthquake at all. Maybe the Darklands don’t have an actual ‘depth,’ being a different dimension, and all the shaking was only at the surface. And while they could certainly be felt by townspeople, the quakes themselves hardly did any damage. A shallow earthquake might occur at a depth of 20 km; a deep one might occur at 500 km. If the shaking in Arcadia only happened at the literal surface, perhaps the vibrations didn’t radiate outwards very far)Social media is another matter. We could imagine that the magical energy in the air interfered with cell signal, but it would be a herculean effort to then convince everyone in town not to say anything about it. On the other hand, the Arcadia Museum openly displayed paintings of trolls in their gallery, so maybe Arcadia has a bit of a reputation not unlike the Bridgewater Triangle (200 square miles in Massachusetts where a lot of paranormal activity is said to occur), and people outside of town are more willing to dismiss the claims coming from the town as nothing more than a media stunt.

The fact that almost all the trolls have left would help. Aaarrrgghh could help clear the gumm-gumm rubble out of sight (maybe drop them into the giant hole in the ground?), at which point, nothing in the town says ‘trollpocalypse,’ specifically. Just general weirdness.

There’s just so much that needs to be swept under the rug, though - one or two things I could imagine, but not everything. Like, maybe we don’t know how many surviving changelings there are after Gunmar’s massacre, and maybe there were few enough left that they coincidentally weren’t out in public when the familiars were rescued. And maybe the whole town does agree to keep the secret. And maybe FEMA does give the town disaster relief to get themselves back on their feet and for some reason does not conduct any sort of investigation (Also there’s a doctor with a thousand babies???). The trolls, being unaware of how human society operates and observes things, would definitely assume that humans don’t know about them, until proven otherwise.

All that being said, from a showrunner point of view, they very rarely overturn the status quo so completely, especially in children’s shows. Kids are smart, and deserve more credit than they often get, but they aren’t usually the ones picking apart what the appropriate disaster response would be to an explosive show finale; they just roll with it. Two exceptions that come to my mind are from the Daredevil comics, and the Gargoyles tv show. In the Born Again storyline way back in 1986, Daredevil’s secret identity gets outed - and notably, this doesn’t get retconned or reversed or otherwise undone as happens so often in comics. Instead, writers have to deal with with a superhero whose identity is an open secret, a rarity.

More relevant to our Trollhunters case, the Gargoyles cartoon is an interesting example to look at to see what might happen when a nocturnal group of monster-like creatures is discovered to have been living under everyone’s noses. Now, the third season of Gargoyles is not considered canon by fans or by its creators. It suffered from a low budget, executive meddling, poor continuity, and from having most of the staff who worked on it replaced (including creator Greg Weisman). It was a hot mess, that could have had so much potential. But it did at least try to address the question of how the revelation of the existence of gargoyles would unfold. Step by step, how the information would spread, and how people would react in stages. How the media would hype it, the protesters and the counter-protesters. How gargoyles would have to defend their personhood over and over and over again to hysterical people who would rather see them rounded up. And it’s been too long since I’ve seen it but I’m sure the government was pulling strings in there somewhere.

It really comes down to what story the creators want to tell. If digging into all the ramifications of Trolls Becoming Known would sidetrack them from whatever awesome plot they’ve got planned for Wizards, if it would bog them down too much from a different story they’ve maybe had planned since before the final details of The Eternal Night were hashed out, then I think they’d gloss over the fallout from that night and let the rest of the world remain ignorant.

A part of me would like to see the trolls get to keep their secret, because I love them and don’t want to see them harassed. The realist side of me says there’s no way the town would be able to keep a lid on that secret for long, not when that funnel cloud would have been visible from miles away (and ‘tornado-slash-meteor shower-slash-earthquake’ just doesn’t sound like a very probable explanation). The part of me that tries to guess what the show’s writers are thinking gives it 50-50 odds that the trolls just carry on as they have been.

Thanks so much for the awesome question!

#trollhunters #tales of arcadia #meta #headcanon #ask reply #gargoyles #commentary #longpost

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dragimal · 6 years

Text

thoughts on Voltron s7

this is prolly old hat by now, but I still wanna throw my two cents to the wind. this is gonna get very rambly, and I’m gonna derail A LOT to air out other grievances I have w/ the show/fandom. a rant like this has been a long time coming-- the reception to s7 only pushed me to write this now. so beware, I guess. also I’m not rly tryin to Start Shit, so I’m slottin’ this under the cut

I think I should start at the beginning: I didn’t like Voltron for the first 3 seasons.

it was perfectly passable, but not.... exactly the kinda thrilling saga Tumblr made it out to be. all the hype put me under the impression that VLD was a deeply emotional/character-driven story much like ATLA-- I was sorely disappointed to find this wasn’t the case. instead, I found a typical space-mecha plot populated by pretty tropey characters-- certainly not bad, but not all that emotionally gripping either

I actually grew p bitter over Voltron’s particular brand of popularity-- mainly the comparisons to ATLA, as if VLD was anywhere as deep and clever. I wasn’t mad that it was popular so much as it seemed popular for the wrong reasons

now I’m not saying that enjoying VLD is “childish” or whatever, I’m just saying that comparing VLD to ATLA is p damn insulting, imo. ATLA has a level of depth in plot, worldbuilding, themes, character arcs/interactions, etc. that’s incredibly impressive-- esp for a kid’s show. u just don’t get that depth from VLD-- and honestly, that’s just fine! I know I’m singing ATLA’s praises to the heavens here, but I’m also kinda sick of Tumblr trying to compare every damn thing to ATLA, as if every piece of media HAS to be another ATLA to be worthy of praise (like the whole “Zuko redemption arc” thing has been taken wayyyyy too far when critiquing villains...)

ATLA and VLD aren’t trying to accomplish the same things, so it’s kinda shitty to place those kinda expectations on the creators of VLD when they’re trying to do their own thing? like, I don’t expect Osomatsu-san-- a very stupid show I deeply adore-- to be the next FMA just b/c both shows have a focus on brotherly bonds; they’re clearly two separate things that I can enjoy for different reasons

anyways, to cut that ramble short, VLD just wasn’t my thing when I first started it. I’m not big on mechas, and I typically prefer pointed storylines over ‘adventure-of-the-week’ setups. not that VLD doesn’t have some underlying plot for the first couple seasons, but it takes a while to get past random villain fights and/or adventures every ep and condense it into a continuous plot thread. some ppl like that kinda thing, I just don’t. the reason I continued to watch it-- despite my misgivings-- is b/c I like watching things with friends. my bf has always liked VLD and wanted me to see it, so I enjoyed watching it with our audience of two

I’m glad this setup forced me to continue watching, or else I would have never reached the turning point-- episode 33 (s3): “The Legend Begins”

this was the point at which my feelings switched from “eh” to “oh... OH. OH SHIT.” I’d finally started to get INVESTED. I finally began to develop real attachments to the characters! I was finally eager to learn what happened next; finally perched at the edge of my seat in anticipation! VLD had finally found its footing and solidified its unique voice, and I couldn’t have been more proud!

yet, what did I hear from the fandom as this narrative transition began?

“the show has gone downhill, and it’s only getting worse!″, "[x] characters aren’t developing anymore” and/or “the showrunners HATE [x] character!”, etc. etc.

though I suppose it’s a bit simplistic to say the fandom as a whole thought this way; in reality, just a vocal subset of the fandom thought-- and continues to think-- this way

yes, patient reader, this is one of those conversations. because we really can’t have a proper fandom discussion anymore w/o getting into those topics, can we? god, if only

so I’ll stop beating around the bush: antis fucking hate the new seasons, mainly because:

1) a lot of antis love Lance for some reason? antis don’t like the fact that Lance isn’t, like, the entire damn focus of the show (calls for “black paladin Lance” galore....), so they don’t like the fact that other main characters play significant roles in the show. this has devolved into unfounded critique of Lance’s character development in the last few seasons, when in reality Lance has gotten SIGNIFICANT development from s4 onward (just like most every other character..). he’s gotten more confidant in his abilities and is less defensive of his character, he’s more cooperative w/ his teammates, and he’s learned to (usually) recognize when a situation requires a serious approach rather than nonchalance. like, as someone who doesn’t much like Lance, I think it says something that my feelings have advanced from, “jesus I can’t stand this guy, can he shut up for one goddamn second,” to, “nice, Lance is mostly bearable and sometimes charming, now.” this point bleeds into the next point--

2) a lot of antis LOVE klance-- or the ship Keith/Lance, for any random readers that don’t know the Voltron fandom. klantis-- as these particular antis have been dubbed-- hate ANY semblance of connection either of these characters have w/ other characters, b/c it threatens klance. Keith and Lance both canonically have strong connections to other specific characters (Keith to Shiro, and Lance to Allura), so these ships are the most threatening to klance

now, all stans/shippers have fans that are a bit too defensive, sure. I’m not saying that sheiths (Shiro/Keith shippers) or any other stans/shippers in VLD aren’t ever at fault. but antis always ALWAYS bring an insidious dimension to fandom wank in the form of-- for lack of a better term-- “social justice posturing”

I’m not claiming that discussions abt representation and sj issues in fandom aren’t important, but antis always take these sensitive issues and simply use them as ammo in what are typically giant ship wars. there’s no nuance, no room for different interpretations-- only black/white divisions of what is “valid”/”canon”/”acceptable”, which are then strategically warped in favor of what the antis of that particular fandom favor (which, in the case of VLD, is Lance/klance)

of course, not ALL VLD antis are specifically out to discredit just one ship, as evidenced by the proliferation anti-shaladins (those against shippers of Shiro w/ ANY of the paladins). BUT this is exactly where anti tactics are utilized in full-force, and where this petty ship war further devolves:

antis fucking HATE Shiro.

Shiro poses the biggest threat to klance (at least in terms of fandom, b/c Allura canonically poses a much bigger threat tbh), thus antis have steadily built a “case” against Shiro not only as a bad partner to Keith, but as a bad character in general. the more “reasonable” antis claim things like, “Shiro’s too mentally ‘broken’ to be with anyone!” “Shiro’s too old to be with anyone, he’s practically a grandpa!” and, “Shiro’s too much of a parental/guardian figure to consider any paladins as potential partners,” while more extreme antis have claimed that Shiro literally IS a pedophile, or straight-up dangerous due to his mental hang-ups

there is clearly a lot wrong here both canon-wise (Shiro has shown 0% confirmable attraction to any character in canon; everyone’s actual ages are vague at best, thus there are no exact age gaps to measure, etc.) and in terms of plain ethics (callin a guy w/ ptsd “too broken” fuckin WHAT). but this is what antis have devolved to-- dismissing Shiro’s mutual connections to his fellow paladins at best, then accusing him of straight-up horrific shit at worst. all in the name of protecting a ship. boy howdy.

(*SIDENOTE* I hypothesize that Allura doesn’t get nearly the same level of hate b/c mlm ships are favored in fandom, thus there are more sheith shippers than allurance (Allura/Lance) shippers to oppose klance. she may also be protected by Tumblr’s over-the-top glamorizing of any and every female character, but that’s a rlyyyy weird discussion that’s hard to quickly/accurately dissect, so I’ll just leave that particular hypothesis to the side..)

anyways, patient reader, let us return this tangent back to the original point: the general criticisms directed at s4 and onward. how do antis relate to this?

well, it’s real fuckin convenient that ppl suddenly started recognizing VLD’s writing/plot/etc. flaws when the show wasn’t catering quite AS much to Lance, or Lance/Keith interactions. real fuckin convenient ppl suddenly started criticizing Shiro as a character when said character’s relationship w/ Keith began to gain more focus and development. real fuckin convenient that ppl are finally recognizing that VLD isn’t as great as ATLA, when the last few seasons have gotten PRETTY DAMN CLOSE to ATLA’s level of emotional depth

so I’m bitter abt Voltron again. but rather than being bitter abt VLD being popular for the wrong reasons, I’m bitter that VLD’s flaws are finally being recognized for the wrong fucking reasons

and this is where it gets real fucking dangerous, b/c antis are dangerously persuasive to the general fandom public

since antis use sj language as ammunition for petty-ass shit, they can easily gain the attention of... god, I hate that I have to unironically use this term, but Tumblr “normies”. I literally have no better, simple term to describe somebody on Tumblr who hasn’t watched VLD (or simply hasn’t engaged in the fandom in a significant way), so please just roll w/ me here, for my own sanity. so Tumblr normies-- as those on Tumblr are prone to-- are vigilant in keeping up w/ sj issues across the board. this is good! it’s good to be aware of and critical of the content we consume..... until it’s. not.

I’m not the first to say that Tumblr has a very warped, very dangerous approach to sj activism. much like full-on antis, there is so much black/white thinking, lack of nuance, swift and unforgiving retribution for even slightly differing opinions, etc etc. it’s why so many ppl on Tumblr even ARE antis, b/c it’s rly just the fandom-offshoot of this mentality

but even beyond the most extreme “activists” of tumblr, anti’s sj language is dangerously appealing to even the chill normies-- nobody WANTS to support dangerous relationships or bad representation, after all! so they latch onto that rhetoric too, b/c when normies see antis' (usually unfounded) criticisms thrown around, they don’t know the show/fandom well enough to be able to verify those criticisms. and like, I get the appeal of it-- I’ve def made similar mistakes w/ unfamiliar fandoms as well, b/c I want to support a cause that seems just. it’s p natural to want to align w/ what we perceive as a just cause, esp when convinced by a persuasive speaker

thus, antis have gained a significant following of normies due to the simple fact that Tumblr normies DO care abt sj issues, but they DON’T care enough to research the show themselves to see what’s what

so, let me quickly recap the stage I’ve set for you here:

1) the fandom in general has given Voltron more credit than is due, and has subsequently placed ridiculous expectations on it. this has given Tumblr normies a false impression of VLD and its standards

2) antis are SUPREMELY protective of klance (and Lance in general), and have thrown around WILD accusations at any ships that threaten it, leading to--

3) antis throwing Shiro under the bus time and fucking time again.

4) by abusing sj language/tactics, antis appeal to Tumblr normies’ sense of duty, thus gain their approval in ganging up on whatever antis deem unjust in VLD-- whether it’s actually valid or not

so fuckin forgive me for being a bit skeptical when I heard rumors of “bury your gays” in Voltron from antis/normies, when these same ppl are actively throwing around accusations of pedophilia in the name of goddamn shipping

but I’ll fully admit, I passed judgement on this criticism a bit too quick, considering I hadn’t even seen the new season yet. it’s never good to blindly accept opinions purely on the basis that they bolster ur own assumptions, and I’m not immune to that charming trap (tho thankfully I’m not typically a vocal member fandom, so I was mostly just nodding along w/ my fellow shieths asdfg)

so finally, dear reader, we reach the actual point of this post: after seeing s7 for myself, what even ARE my opinions on it?

well. the handling of Adam and his relationship to Shiro............... wasn’t great. it was pretty fuckin terrible, actually. despite all I’ve said against antis, I agree w/ their general view that Adam’s relationship w/ Shiro (and his subsequent death) was shoddy, underdeveloped, and disrespectful to some degree. I’m personally not sure it’s worth the title of “bury your gays” for several different reasons, but I wouldn’t fault someone for calling it that, b/c there are definitely several other reasons that reinforce that trope. it’s worth discussing, and definitely worth voicing criticisms towards, esp in terms of Dreamworks’ “lgbt rep” advertising before s7′s release (which was absolutely scummy, there’s just no other word for it)

so if I agree w/ antis’ basal complaints in this instance, then why the hell am I even talking abt this? why am I putting so much effort into dissecting the fandom, only to essentially reach the same conclusion as those I fundamentally disagree with?

well, I suppose it’s all abt the framing.

I’m not gonna link the post b/c, again, I Don’t Wanna Start Shit, but most of y’all have prolly seen that one post that breaks down the history of the “bury your gays” trope, and how it was possibly utilized in VLD. it’s a p good argument in that respect-- I think it hits the main points of how/why Adam and his relationship w/ Shiro was just plain Bad

and to the untrained “normie” eye, that’s all it is. however, there is a cryptic framing present that reinforces anti talking points, which only someone involved in the fandom would recognize.

(*SIDENOTE* I don’t mean to pick on SPECIFICALLY this post, I just think it’s a nice rundown of a few of the main rhetorical tactics used by antis. it’s certainly not a unique post in the fandom, but merely a good example of this brand of posts)

for one, this post forces an emotional distance between Shiro and the paladins. this post INSISTS that Shiro can ONLY be interpreted as a guardian character that can’t relate to the other paladins in any significant way due to age gaps and traumatic experience. THUS, according to antis, Adam was the only person that Shiro could have intimately discussed his problems w/ b/c they’re the same age and have a history. Adam's death removed this potential confidante, thus leaving Shiro to sort out his issues alone

while I agree that it would have been nice to see Shiro chat w/ a new character he has a history with (esp considering we rly haven’t gotten much backstory on Shiro yet), so much of this argument is simply false

I’ve already mentioned the bullshit that is the vague age gaps, but even if we were to take them into account, there ARE characters who are assumedly at or over Shiro’s age: Coran and Allura. and yeah, Coran is prolly not the best choice in terms of real emotional connection, but Allura? she could prolly fuckin relate. Shiro’s had his body and autonomy violently violated by the Galra, to the point that his original body is now destroyed; Allura has had her culture and people violently violated by the Galra, to the point the her original planet/culture is now destroyed. Shiro is/was a leader to the paladins, and takes their collective failures to heart as his personal failures to his team; Allura is a literal princess to her people, and takes their downfall as a personal reflection of her lack of ability to protect them. their situations obviously shouldn’t be 1:1 conflated, but to say they have no points of relation here is fuckin insulting

but since age gaps like this mean JACK SHIT when it comes simply developing emotional connections and mutual respect, we don’t even need to go so far as to match ages! this is evidenced by actual intimate interactions Shiro has had with the paladins!

the first one that comes to mind even involves antis’ favorite-- Lance! episode 45 (s5): “The White Lion” involved a moment where Shiro approached Lance on his own and opened up abt his mental health, saying he, “didn’t feel like himself.” now it could be argued that this was Shiro’s clone-- not Actual Shiro-- approaching Lance for help. tho I firmly believe that are still true parts of Shiro present in his clone, even if he’s not fully there. the clone is still protective of his team (before his mind is COMPLETELY hijacked, of course), and I believe any connections/loyalty/trust Shiro has towards the paladins is still true for the clone (even if this can, once again, be forcibly overridden). this moment is Shiro-- the part of Actual Shiro that’s present in his clone-- approaching a fellow teammate for help. of course, Lance doesn’t know exactly what to do in this situation, but he at least stays w/ Shiro for support

and then of course there are all the great moments Shiro has w/ Keith that antis want to forget abt. moments where Keith has laid down his health and safety for Shiro, moments where Keith has barred his soul to Shiro, moments where Keith has done everything in his power to reach out to a hurt and struggling Shiro. moments where Keith has made it ABUNDANTLY fucking clear that he’s here to the bitter end, that he’ll NEVER give up on Shiro. it literally doesn’t fucking matter if u interpret these scenes as platonic or romantic, b/c the fact of the matter is that Shiro and Keith care DEEPLY abt each other in some shape or form. disregarding that is forcibly ignorant. also, we've now confirmed that Keith and Shiro do have a HISTORY back at the Garrison together before all this Voltron nonsense started (even if it isn’t necessarily a romantic history), so Keith also has that leg up

the subtle framing of Shiro as STRICTLY a “guardian” character is also a classic anti tactic, as it implies a sort of pseudo-pedophilic undertone to any Shiro/paladin ships, which is just.... gross and dishonest. yes, he’s canonically a leader to the paladins, and oftentimes takes on a guardian-type role, but once again, he also canonically opens up to other paladins on a mutually respectful/intimate level. there’s nothing in canon that would strictly suggest he’s ONLY a guardian figure-- “space dad” is a fandom interpretation in the same way that framing him as Keith’s lover is a fandom interpretation. neither is more or less 'canon', and it's petty to suggest otherwise

another weird point in that post is the insistence that Shiro is a “tragic gay character”, which is just..... not fucking true, first of all. he’s definitely suffered the most out of any main character, I agree, but he’s GETTING THROUGH IT. he’s been pulled through it by the paladins, and he’s learning to use his own strength to pull through as well. he’s so incredibly fuckin strong and it’s a fuckin shame that ppl don’t see how inspirational he is to those that may be struggling emotionally. plus, he's never suffered BECAUSE he's gay, nor has he ever had a damn HINT of queer-coding until Adam was shoehorned in (which is its own separate problem w/ the show, but it's not a "tragic gay" problem)

but beyond all that is an even more subtle insistence that Shiro has always been a beloved character to ALL in the fandom. antis’ underlying implication that, “hey normies, Shiro-- our beloved Space Dad-- has been given the shit end of the stick, and u should be mad abt it too!”

as if antis haven’t spent the last several years shitting on Shiro at every turn, saying he’s got “scrambled egg brains” b/c of his ptsd, and other horrific shit. the fact that they can turn around to “defend Shiro’s honor” now that he’s *confirmed queer* (and, initially, confirmed less of a threat to klance due to Adam) and STILL be taken seriously is goddamn terrifying

like I am literally seeing posts like this-- IN 20FUCKIN18-- that normies are taking at face value and reinforcing:

to any normies reading this: SHIRO AND KEITH AREN'T FUCKING RELATED!! racist antis insist that they have to be related b/c they're both Asian and the second half of their last names (Shirogane and Kogane, respectively) are similar. I'm literally so baffled over how this tactic is ever taken seriously, but who fuckin knows I guess. and if antis are trying to make a case for adoptive siblings, Keith canonically met Shiro by at LEAST his early/mid teens-- LONGGGG past the developmental age of youth where he might latch onto another person as a strictly non-romanceable relative, so. No. fandom is free to interpret Keith and Shiro’s relationship as brotherly, but to say that that is the STRICT and true 'canon' interpretation of their relationship is, once again, fuckin petty and dishonest

just. how fuckin DARE antis act like they give a SINGLE goddamn shit abt Shiro’s emotional needs and trauma after pullin this shit. how fuckin DARE antis misuse real sj issues to appeal to the lowest common denominator in normies, looking for fodder to fuel the flames of hate

so, if I may be so bold as to utilize one of antis' many battlecrys: this discussion does not exist in a vacuum. Adam's shoehorned relationship w/ Shiro is shitty and worth criticism, absolutely. but brushing aside the fandom history driving the resulting uproar-- as if ship wars aren't HUGELY influencing this backlash-- is SUPREMELY fuckin ignorant

antis latched onto Adam HARD when he was first announced, despite all the signs he'd be a side character at best, that he was stated clearly to be Shiro's ex, and having no context for his personality. Adam was antis' newest shield to their ship-- somebody to take Shiro's romantic potential away from Keith, thus leaving Keith open to Lance. Adam's death eliminated that shield, leaving antis reeling-- they couldn't just jump right back into hating Shiro after having showered his newly-christened gay ass w/ praise for all of the Tumblr normies to see. so, their anger was tactically redirected towards Adam's development

there is nothing shocking abt any of this tbh. all antis is the same, and they're all bitter assholes that are completely willing to abuse real sj issues for their own goals. plain and simple.

I don't rly have a proper ending for this. I'll just say that I like s7 a helluva lot, and Adam’s shitty development doesn’t rly phase me? not everyone feels that way, which is valid, I just don’t particularly give a shit abt Adam. I have hope for s8-- esp in terms of potential development for Shiro. since Shiro got such heavy focus in s6, it makes sense that he was pushed to the sidelines a bit this season to leave room for the other characters (Keith, Lance, Commander Holt + Earth stuff in general, etc.) to develop and shine. I've heard rumors that Adam did in fact have more development that was cut, which I'm honestly willing to believe b/c the development we got felt cut short, rather than simply planned that sparsely in the first place. my hope is that s8 will return some focus to Shiro, and possibly slot in some of these cut scenes to bolster a better backstory to their relationship? pure speculation tho, and it doesn't rly excuse Adam's treatment in s7, but it's worth considering

before I completely end off here, I just want to go on one last FINAL tangent: I'm so damn disappointed that everyone is sleeping on kexa (Keith/Acxa)??? if anything it poses MUCH more canon threat to BOTH klance and sheith purely b/c it's 'safely hetero' and b/c the show itself has hinted at potential feelings there (“She’s always been sweet on that one with the flippity hair,” and “Oh look Acxa, it’s your favorite paladin~”). like I haven't seen antis OR sheiths even mention this, it's baffling. the fact that it'll prolly be canon is bittersweet for me: bitter b/c DAMN I love sheith, and sweet b/c damn.... I'm rly diggin kexa....

so the moral of this post is: blease appreciate Keith's beautiful goth gf, she deserves love

thank u and goodbye

#shut up ashley #voltron #voltron: legendary defender

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gotgifsandmusings · 6 years

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Do you have any hope for the GoT prequels?

I have very mixed feelings.

For those who don’t know, HBO greenlit a prequel drama from Jane Goldman along with GRRM about the Age of Heroes into the Long Night. D&D aren’t involved in any way, while Goldman is a “co-creator” with Martin and going to be a showrunner herself.

So. On paper, no D&D and a female showrunner are two very positive changes to this…franchise, I guess. I don’t know much about Goldman’s work (I won’t judge her too much for Stardust, and I’ve heard good things about X-Men: First Class), but her resume indicates that she at least can write just a bit above the levels of Troy, you know? I’m also encouraged that these prequels will be so boldly away from Game of Thrones and not banking on familiar characters, unlike what I was ragging on Disney and Star Wars for yesterday. I was positive we’d be getting a Robert’s Rebellion prequel, because we know those people!

At the same time, this does leave the scaffolding of GRRM’s written books quite significantly. There’s very little source to refer to, which means that this truly takes the HBO “Game of Thrones” (not ASOIAF) property and turns it into something far more free-form. Yes, GRRM is co-creating and likely executive producing (which means exceedingly little, as GoT has shown us), but what I’m saying is it’s no longer a TV show based on books. It’s an entire franchise based off of the worldbuilding of GRRM.

There’s 100% potential in there for good stories because it’s an intriguing world, and I don’t mean to imply that GRRM is the One Writer who can sufficiently produce a narrative in it. It’s just, whatever intentionality he had with regards to his own worldbuilding and the stories he’s chosen to flesh out are gone. And frankly, it’s very hard to trust original works in this setting given what we’ve had every time D&D went off-script. Then of course, this is an HBO greenlit show that’s kind of obviously going to try to fill in the void GoT is leaving behind. Are they going to want a wildly different formula? I tend to doubt it.

I’m wondering on that note how much these prequels are going to be committed to consistency with D&D’s world. Cause they showed us the forming of the White Walkers and uh… It left a bit to be desired. I’m kind of hoping compliance only matters with regards to stuff like TWOIAF (which obviously was written through a lens, so I’m not talking about a straight-reading compliance in any way), and far less with GoT. But if anything the reverse is likelier to be true.

Finally, I am very not compelled by this particular time setting. Again, I’m happy it’s not just shoving recognizable names at us. But it seems weird to me to give us the Long Night when like…we’re seeing v2.0 in GoT/ASOIAF? Are there not stories to tell without zombies? Plus another aspect of what makes the Long Night so effective in tales (or even the age of heroes) is that we don’t have many details; there’s mysticism surrounding it all, along with fables that are hard to sort the truth from. I kind of feel like showing us exactly what happened reduces that impact a little.

So in answer to your question, I’m kind of torn on any expectations. I have some hope in the sense of this not being a D&D project. But I’m not going to get overly excited, at least not until we have some trailers or more details to be able to get a feel for this.

#Anonymous #asks

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aion-rsa · 4 years

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American Dad 300th Episode Breakdown And What Comes Next (Exclusive)

https://ift.tt/3mrPNf0

American Dad has quietly been plugging along for over 15 years and the show is still able to make waves and ruffle feathers. American Dad has survived a move from FOX to TBS, where the animated comedy is now thriving and feels freer than ever to indulge in its surreal interests.

It’s unusual for the later seasons of a series to match their golden years, but American Dad has delivered some of its best and more creative episodes since the move to TBS. The series recently celebrated a major achievement with its 300th episode, a milestone that only 25 scripted primetime series have reached. Matt Weitzman, American Dad’s co-creator and showrunner, took some time to break down this momentous installment, what lies ahead for American Dad, and if we’ll ever see more Mind Quad.

DEN OF GEEK: This Golden Turd storyline has been brewing since the first season. Had you considered returning to it earlier, like in the 200th or 250th episode, and if not, why now?

MATT WEITZMAN: It had been a while for it and it felt like it had deserved some kind of connection to tie in with the Smith family. We had considered for a long time how the family would be affected by this event, so it just seemed like a natural way to celebrate 300 episodes. It was a way for us to tackle topics that fans seem to not be able to get enough of. It’s crazy a storyline from the beginning of the show and 300 episodes is something that deserves that level of significance. We didn’t know how else we’d finalize this long-running thing—actually I don’t even know if it is final because obviously we still leave it open-ended. At least now it shares a connection with the family. It’s been a long time coming and I hope that the fans enjoy it as much the writers and I enjoyed coming up with it.

I feel like the Mind Quad segments have been a nice parallel to the Golden Turd digressions. Was there ever consideration to involve him in this story, or do you think you’ll return to that material in the future?

I want to, absolutely! Luckily we have at the minimum at least one more season. We’re in the middle of production on the season and then at the end of the month we begin production on the next season. So we’ve at least got 22 more episodes to play around. Also, I don’t know if people are going to notice this, but Mind Quad is technically in the episode.

Oh wow! In the big musical sequence?

If you look for him, you can find him.

Well that’s incentive to go through it all again. During Roger’s absence there’s a good deal of focus on Rogu. After having this new character around for about a season, has it been nice to get more of a feel for him and use him in storylines?

Yeah, we actually have an upcoming storyline in the next season that really just focuses on Rogu and Klaus. It’s kind of a Homeward Bound story that we tell with the two of them. It’s also amazing because both of those characters are voiced by Dee Bradley Baker. I’m glad that people are digging Rogu though because at one point it was just going to be like a one-off gag, but the more that we played with him the more that we grew to like him. So we’ve been having fun with Rogu. We’ve been having fun with Billy. After 300 episodes you kind of need to bring in some new characters to help tell some new stories. As long as people are still having fun and still watching the show.

25 Best American Dad Episodes

By Daniel Kurland

American Dad interview: Matt Weitzman & Dee Bradley Baker on episode 200

By Laura Akers

This episode briefly toys with the idea that Roger is dead. Was there ever a point where a more drastic ending was considered, like Roger actually staying gone for a bit and Rogu filling the void or even growing into him?

Not really, no. In the “200” there were 200 Rogers. In “100 AD” we killed 100 people. In this case we had to figure out how to incorporate the number 300 into the episode somehow and since Roger seems to be able to regenerate himself, it seemed like a natural idea to split him up into 300 pieces and then re-connect. So it was always just going to be a one-episode thing. It felt like a natural fit to do what we’ve done from the past.

The bloody final act of this episode is really fantastic. Did it always play out like this with the same death sequences in mind, or did the episode stick pretty close to the original plan?

We stuck pretty close to it! We always knew that we wanted to get back to Boca Raton. We are certainly flexible with canon on this show, but with this we still wanted to touch back on the story that we had set up way back when. As far as the deaths go, they slightly fluctuated, but we always knew that the family would have to suffer because of the Golden Turd. We mostly stuck to the story that we broke early on. It’s the destruction of the Smith family, but then also finding a way out of that. It was natural, dark, and what the Turd deserved.

The end of the episode nicely touches back on the first appearance of the Golden Turd, but did the episode ever get more intricate and have Roger actually travel back in time and do more with the past?

Lightly touching was enough for us because we knew that we had to get things back to normal. We felt that the Turd itself was the way in without having to directly do something like time travel. It’s still kind of time travel even though nobody actually goes back. The writers came up with a clever way of communicating with the past without changing too much of it. I’m trying to think of the last time that we did actual time travel—Actually, we have one coming up in the coming season where Stan and Francine do go back to the past.

We were just happy using the Turd to its fullest extent here and focusing more time on it and giving it a new characteristic to tie to the past. That seemed like enough to satisfy our weird sci-fi cravings. So much of the episode is also geared towards maintaining that dark noir third act that had we spent more time on other aspects we wouldn’t have been able to play around with that third act stuff as much.

After 300 episodes is there anything that you’ve wanted to do, but were unable to for whatever reason, whether it’s because you were told no, or didn’t think it was a good enough idea, or whatever?

There are elements that I think that we still need to tackle. We still need to tackle that missing baby of Roger’s. Like you were saying, we need to do more with Mind Quad. I’ve always kind of wondered what’s happened to those Pirate Cats, too. We’ve touched on a lot of things over 300 episodes and there are always threads to re-invest in or find out what happened to X, Y, or Z. We’re super grateful to have the opportunity to do that. As horrible as this pandemic is, the silver lining is that people just want more animation and we’ve been able to main production.

After putting this huge story to rest, do you guys have any ideas over what the final episode might look like?

It always comes back to the idea of Roger’s planet. There’s this appealing idea of what it would look like if the Smith family gets captured and sent back to Roger’s planet and Roger has to rescue them. I know that we’ve had the episode with the spaceship and Roger’s people were there, but it’s not quite the same. It’s tricky territory to negotiate though and it seems like if we do go to Roger’s planet then it would be a multi-parter. I think that’s an eventuality, or honestly, maybe not. The good news is that we don’t even know if the end is near for American Dad. I’m always ready for there to be an end in sight, but the world keeps saying, “No, you’re not ready! Keep making more!”

On that note, it’s not uncommon for series that have been on as long as you guys have to consider a feature film as the way to go out. Has there been any discussion over an American Dad movie, whether it’s during the show’s run or something that could happen after the series has concluded?

I feel like if that happened it would probably be after the series is over and we find a story to tell that hasn’t been told. At this point, this is a full-time job and I think it’s better for us to focus on the show rather than split our focus. We want to make sure that people aren’t wasting their time when they’re wasting their time.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

It’s been exciting to witness the tone of the series get a little weirder in more recent seasons. Are there any storylines or jokes from the past few seasons that you’re especially proud of?

Well, just the show in general. Just the fact that we’ve been able to keep going is the hallmark of what I’m most proud over. I’m proud that not only are people still enjoying to watch it, but that it’s still a joy to make. After a while, something can become a burden and you question whether you’re telling stories that want to be told and I think that we’re still finding really entertaining stories to tell with these characters that fans are still interested in.

That “Rabbit Ears” episode from the past few seasons is definitely one of your weirdest and best.

Yeah, right? That one was so much fun. Chris Pine does a fantastic job there, too! I was not expecting that version of that character to come out of Pine and then when it did I was immediately like, “Oh yeah, let’s do that!”

But in terms of more specific things, there are a lot of weird episodes on the horizon. There’s one where Steve visits the astral plane and can travel through time and space. As long as we can tell stories that surprise me or go in unexpected directions like that, then I’m happy. As long as I’m still being surprised and chuckling along the way, then I feel like the audience will be, too. Luckily we have a big audience between American Dad airing on TBS, and Adult Swim, and Hulu. There are a lot of ways to watch us and the fact that people still want to just tickles me.

The post American Dad 300th Episode Breakdown And What Comes Next (Exclusive) appeared first on Den of Geek.

from Den of Geek https://ift.tt/3izpFwv

#aion-rsa #Den of Geek

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britesparc · 6 years

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Weekend Top Ten #334

Top Ten Coolest Things at SDCC 2018

I’m far from immersed in the industry or what-have-you, but from my point-of-view, this year’s San Diego Comic-Con was quite interesting. There was little that was shocking or utterly unexpected, and of course the big huge phenomenal franchises – yer Marvels and yer Stars War – were notably absent. But all the same, there was some pleasant surprises, and also somethings that weren’t surprises but were pleasant all the same.

And so here we go: my ten favourite things that happened at SDCC ’18. From my point-of-view.

DC Super Hero Girls Goes All Faustian: my kids really like superheroes, and DC Super Hero Girls has been a nice jumping-on point with its more sanitised view of superheroics. Whilst the thought of having to buy another set of dolls, figures, and playsets is a bit irritating, a redesigned cartoon series from Lauren Faust – creator of Friendship is Magic, for goodness’ sake! – looks fantastic. From the looks and sounds of it, it’s a lot closer in style to her utterly amazing Super Best Friends Forever shorts from a few years ago. I like this, partly because I love her art style, but also because the focus on more traditional superhero action – juggling fighting crime with secret identities, rather than a kind of “Monster High for superheroes” academy setting – sounds very appealing.

Captain Marvellous: I run hot and cold on the DC Extended Universe (or “Worlds of DC”, or whatever we’re meant to call it; I guess it’s the movie equivalent of Marvel comics’ ambivalence over the use of “Earth 616”). Obviously Wonder Woman is amazing, and there are elements of Man of Steel and Justice League that I really like; and by and large it’s been really well cast. But whilst the Aquaman trailer looked quite good without really blowing the doors down (I do like how crazily fantastical Atlantis is, and the general look of the underwater scenes), it was Shazam that impressed. A totally different vibe and tone to previous DCEU films, but recognisably set in that world, it was fun, funny, colourful, and possessed of a childlike sense of wonder. I really hope the film lives up to it.

The Doctor is In: whilst I don’t think the trailer showed enough of the new series to get a handle on the type of stories, quality of dialogue, or interplay between the characters, the fact is – even with the limited screentime we got – Jodie Whittaker already feels like the Doctor. She’s got the expressions, the swagger, the walk, and the voice – oh god, the voice! So nice to hear a Yorkshire Doctor! Even off-screen – in the panel, interacting with friends, all of that – she seemed born to the role. And her sonic is amazing, a real Count Dooku number, all organic and curvy and sexy. Bravo.

Morrison in Space: I like Grant Morrison. I kinda like Green Lantern, although I’ve not read the actual ongoing very much. But the thought of the two together – Morrison tackling the Maverick-in-space vibe of Hal Jordan – is very appealing. Plus, y’know, I just like reading Grant Morrison superhero comics.

Last Light: as I suspected there was no news on the future of Transformers post-Unicron. But they did show some final issue covers. And Nick Roche’s cover for Lost Light #25, with the shadow of the titular ship cast by a retreating Rodimus, was sublime. Elegiac, even. Bittersweet. As much as I hate to see it go, I am really looking forward to seeing how it ends.

Re-Discovery: it was a bit weird as it unfolded week-by-week but overall I have to say Star Trek: Discovery has been a recent TV highlight, and I’m really looking forward to the second season. The climax to season one – when the Enterprise, under Captain Pike, showed up – offered immense possibilities. The trailer didn’t disappoint, with action, humour, weird aliens, and bright yellow captain’s uniforms. I cannot wait.

Shiny Glass: so last year – was it last year? I think so, I think it was about January – I could have gone to see T2: Trainspotting or Split. The (ahem, unnamed) friend I was with would have rather seen Trainspotting; I didn’t really mind, I wanted to see that too, although at that particular time I’d have rather seen Split, as I’d heard it was quite good and had a pretty sweet twist. Well, bugger that (ahem, unnamed) friend, because had I seen Split that night, I’d have seen it before the entire internet spoiled the sweet twist. So, anyway, I’ve still not seen Split, but I know who shows up at the end, and as a result I thought I might as well watch the Glass trailer, and it looks brilliant. Seeing those three characters sat together was almost Avengers-level groovy. I just hope the film ends with Cole Sear or Graham Hess showing up.

Buffy Bonanza: the reboot-or-is-it-a-reboot-maybe-it’s-a-sequel-who-knows Buffy the Vampire Slayer thing is terrific. Buffy is a great character, it’s cool that one of Joss Whedon’s seminal works can, in a way, live on after he has gone, and having a black female lead is a very positive step. I liked Buffy, but didn’t watch it religiously, so I don’t feel I have a dog in this fight the way I would if they were rebooting, say, The West Wing or even Firefly. But all the same: colour me intrigued.

Those Wonderful Toys: specifically, it must be said, from Hasbro; the Transformers and My Little Pony toys on display looked tremendous. Although nothing Transformer-wise topped the awesome Rodimus Prime from last year, there was still enough to get me excited; but as for MLP, it was probably the 80s-inspired collector’s edition that sealed the deal. Punk Rainbow Dash? Sign me up.

The Magic Continues: speaking of My Little Pony, I was pleased to hear that rumours of the show’s impending demise may be premature. I say “may”, because – as I predicted – they weren’t likely to come out and say, “yeah, folks, that’s it,” when there’s still at least a whole other series and possibly a movie or more to promote. But season eight sounds great (I’ve not watched it yet), and it was cool that the showrunners indicated they wanted to keep going as long as they could. That might have just been a loose cover to drape over any qualifications or official statements at this stage – or, hey, maybe they’re still in negotiations – but I for one would love to see, at the very least, Friendship is Magic hit a ten-year anniversary.

Obviously there was more that I liked – Clone Wars, a Steven Universe movie, Eleven Meets Godzilla – but these were the stand-outs. Also most of my predictions were correct! I am a genius.

#top ten #sdcc #sdcc 2018 #movies #tv #comics #toys

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calliecat93 · 6 years

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Red vs Blue: Season 1 - The Blood Gulch Chronicles P1

If you have been a fan of Rooster Teeth or been on the internet since 2003, chances are you may have heard of the series, Red vs Blue, at least once. Created April 1st 2003, the Halo-inspired webseries about two opposing teams in a box canyon and the stupidity hat ensues has evolved form a 3 minute show made by some nerds in a spare bedroom to not only the internet’s longest running episodic webseries, but the longest running American produced science fiction series. Originally helmed by creator Burnie Burns, the show has run for 15 seasons with a 16th upcoming and gone through various showrunners and tone shifts, but it has always maintained it’s comedy, character dynamics, and wide appeal.

I am very late to the game with RvB, having only gotten into it in early 2017. But even in that amount of time, looking back onto Season One after watching the rest of the show... felt a little jarring. There’s various reasons why. Low quality audio , below average voice performances, characters not being fully fleshed out, and outdated graphics. When you look at this season and then look at... say Season 10, you can see how far the quality of all of these, as well as the writing, have come since the old days. However the importance of this season and it’s success cannot be ignored. Without this, Rooster Teeth most likely would not have existed. Which that would mean that Achievement Hunter, RWBY, Camp Camp, Day 5, etc would also not exist. It’s importance cannot be ignored here.

So I guess that gets the exposition out of the way, so lets go into the review.

Overview

Talking about Red vs Blue, especially the Blood Gulch Chronicles (Seasons 1-5) is honestly... not easy. The first season especially. Why? Well while RvB has always been a comedy, it later shifted into being more of a dramedy with an ongoing story. This one has the least amount of story, driven more by the characters shenanigans and dialogue.The good news though is that, despite what I thought when I began the show, you don’t have to know shit about Halo to enjoy it. There are some references, like one character referencing Master Chief and the Covenant in the first episode, but you don’t have to understand the lore at all. It may help, but its unnecessary. Which is good since I’ve never played the game and anything I know about is either from this show, Lets Plays, or looking it up.

The show’s concept is, at least in the beginning, pretty simple. So there’s this box canyon, Blood Gulch, smack dab in the middle of nowhere. In this canyon are two bases, Red Base and Blue Base. There are also two teams, the Read Team and the Blue Team. These two sides are at war because... ugh... some reason. The first episode points this out, so lets meet our cast. On the Reds, we are first introduced to Richard ‘Dick’ Simmons (voiced by Gustavo ‘Gus’ Sorola) clad in maroon and is the one pondering this to begin with (”Do you ever wonder why we’re here?). The other soldier, clad in orange, is Dexter Grif (voiced by Geoff Fink, better known today as Geoff Ramsey) and... yeah he has no idea why either, just getting strangely philosophical (”It’s one of life’s greatest mysteries, isn’t it?). The answer is because each side has a base in the canyon. Yeah, that’s the reason. Just go with it.

There’s two other Red soldiers, but we’ll get to them later. For now, lets shift over to the Blues. They only have two guys, Team Leader in colbalt Leonard Church (Burnie Burns) and Lavernius Tucker (Jason Saldana). Episode One very quickly establishes the two sides daily routine. Often, they just stand at their base on guard duty ether talking or watching the other side. Sometimes even both! It’s something that they’re used to/tired of with Church getting annoyed at Tucker pestering him about what the Reds are doing, which is the same thing they always do. Considering that these Season 1 episode are around three minutes long each, they do put that time to good used. The first two episodes alone are enough to establish the majority of the main cast and give us a feel of the two sides regular routine.

Speaking of Episode 2, Simmons and Grif have been called down by their leader, Sarge. Out of all the characters, Sarge is.. the most noticibly different in terms of voice. In the entire series he is voiced by Matt Hullum, RT’s current CEO... but the voice he uses here is DRASTICALLY different. But I’ll elaborate on that more when I get to character stuff. But speaking of voices, this is also a good time to mention one of the season’s biggest flaws, the audio work. It is very difficult to understand what the characters are saying a good chunk of the time with the filter effect not making it any easier. I had to turn up the volume various times to fully makeout what was being said. There is a reason why however. The RT guys were doing all of this out of a spare bedroom, pr in Matt and a few others cases, over the phone. The company was literally three guys (Burnie, Geoff, and Gus and at some point during BGC Gus temporarily moved to Puerto Rico, leaving only two guys) in a bedroom with an XBox and some cheap equipment. So it is very understandable why the audio was low quality, not counting the below average voice acting. But still the audio, especially compared to later seasons were they do have high quality equipment, is noticeable and annoying.

Okay, back to the series. Sarge shows the two privates their newest toy, the Warthog. An army jeep that... I gotta agree with Grif, I think Puma is a much more fitting name. We also learn that Sarge wants Grif dead. Seriously, he gets very creative with ideas in later seasons. The When You Wish Upon a Star parody in Season 8 always kills me. Lets put it this way, we learn that Grif gets shit on. A lot. The Reds are also expecting a rookie to be joining their ranks soon, much to the privates aggravation. A sentiment that the Blues can relate to as they too are expecting their own rookie. Oh, they’re also getting a tank! Cool... but can it play polka music like the Warthog? I don’t think so!

This leads us to episode 3! I’ll give the show this, it goes by quick. So while arguing over going to the Vegas Quadrant, which funnily enough was based on a true story that was later made into an RTAA, Simmons and Grif meet the rookie! Franklin Delano Donut (Dan Godwin), currently clad in the same red-colored armor that Sarge wears. Speaking of, Sarge is currently away at command and as left Simmons in charge... a memo that Grif didn’t get. No surprise there. Anyways, the privates decide to mess with Donut, tricking him into going to a non-existent a store to pick up some elbow grease and headlight fluid. Well now this RTAA suddenly makes sense. While Simmons does wonder if this was too harsh, Grif assures him that all that’s gonna happen is that the kid will run around the canyon for a few hours. What could possibly go wrong?

Meanwhile, the Blues got their tank as well as their own rookie, Michael J Caboose (Joel Heyman). They’re all admiring it with Church bringing up having a girlfriend back home. This causes Caboose to accidentally call her a... not nice word, annoying Church and setting up their relationship for the rest of the series. History in the making folks! Anyways, the two older soldiers get annoyed and send Caboose to guard the flag inside and await a general who doesn't look like them. Just as Donut arrives, and the two stupidly don’t turn around to see who they’re talking to, just assuming that it’s Caboose. So Donut goes in and since he doesn’t loo like the Blues... yeah you can both guess what Caboose does and how much Church probably wants to bang his head into the wall.

Church, believing Donut to be Sarge, wants to use a teleporter to cut him off... by making Tucker go first. Tucker refuses since it’s only been used on rocks, but Church forces him into it. And... nothing comes out of the other end. Wow, I’ve seen characters die early on, but daaaang. So Church goes on foot. Meanwhile, Grif eventually sees that Donut has the flag and he and Simmons get the Warthog. Church catches up to Donut, discovering that it’s not the sergeant... as Tucker finally comes out of the teleporter. His armor, which is normally aqua, is now completely black and he assumes that he got sent into the past. No, no Tucker, it’s two seasons too soon to bring time travel into the mix. Be patient kind sir! Anyways, the Reds show up and cause the Blues to take cover with Grif sending Donut back to Red Base. Kind of weird to see Grif doing his job tbh. Caboose, seeing that the others are in trouble, goes to get the tank.

We now meet Shelia. The tank! Yes, the tank has a name. She takes Caboose through the tutorial program... which he sucks at. Don't you just hate it when that happens? He is able to get it to the Reds, who have left the Warthog to get at the Blues, and the two plan to run back... with Grif leaving Simmons in the dust. Jerk. Well it doesn't matter, the Warthog ends up blown up when Caboose turns on the automatic firing system. Simmons yells at Grif for having the bright idea of exiting the Warthog... though if they had stayed in it, they’d be dead. But meh, whatever. In the meantime, Church realizes that Caboose is piloting the tank and comes out... causing Shelia to target on him and...

So... yeah... Church is dead. Damn, and only eight episodes in too. But ah well, he’s dead! That’s that! It happens! No reason to care whatsoever! Moving right along now! Oh, and going back to the audio, that explosion nearly blew my ears out when I had it on 10% of the volume. SO thanks for that RT, bunch of assholes.

The Reds eventually make it back to the base as the tank continues to fire madly. Caboose is afraid to try anything to stop it since... you know, he just became a team killing fucktard and all. Fortunately, Sarge calls the team, currently on his way back to base. Grif, in rapid succession, explains what’s happening and luckily Sarge has a solution... by dropping bombs! To his credit it works as Shelia is blown up, though Caboose is able to exit in time. He mourns the loss of the lady in the tank (roll with me here) and the Reds take the first victory in what up to now was a standstill. And that ends the first half of the season!

So lets about the production a little bit. Season 1 is 19 episode long, averaging at around three minutes. This was not the plan. From what I understand, Burnie’s original plan was for RvB to be a miniseries, IDK the exact intended episode count but it wasn't supposed to be this long. I can only assume that the initial success caused him to expand on it. But the point is, there was no long term plan. As such, Burnie originally wrote the episode mere days before they were set to premiere. Unless you are South Park, that kind of production schedule is INSANE. Now since this was initially going to be a miniseries, its once more understandable, hence hwy I’m not going to go off on it like I would with any other show. I only bring this up for a historical perspective and because the next few episodes are going to contain events that will shape the series much later in the future. Events that were conceived shortly before the episode went into production. But I’ll get more into that when we get to the Recollection Trilogy.

Now for the second half of the season. With a member dead and the tank totaled, Tucker, whose back to aqua-colored armor, calls command for backup. He’s answered by VIC. Now VIC is usually voiced by Burnie, but in this season he’s voiced by a different actor, and it shows. Anyways, the best that VIC can offer is to bring in a nearby Freelancer agent. Freelancers are neutral agents, often being employed by either side... or that’s the story Tucker gives. Oh Recollection Trilogy/Freelancer Saga, it’s gonna be FUN going over you. The agent being hired is known by Agent Texas, or Tex for short. It’s then that Tucker and Caboose receive a visitor... Church! As a ghost! Just... just go with it, okay? Anyways, Church came back to warn the two about Tex, an overly aggressive agent who murdered all of Church’s former squadmates on a snow planet known as Sidewinder. One soldier in particular, Jimmy, got beaten to death with his own skull. Man, that doesn't seem physically possible.

The point is, Tex is dangerous. Having this soldier in particular get involved may end up being more trouble than it’s worth. Church can’t elaborate too much, but he does make it clear to Tucker and Cabosoe that they, under ANY circumstances, should NOT involve Tex whatsoever. He also adds that Tex is the reason why he and his girlfriend didn’t get married, but he vanishes before he can talk further. Tucker is left confused... just as Tex arrives tot he canyon. Ho boy... so guys, do the Blues either A, heed Church’s advice and decide to not use Tex after all? Or B, disregard it completely and let Tex do whatever the Hell they want? If you guessed A, you are giving this show far too much credit, no cookie for you!

Well actually, I guess I can’t blame Tucker too much for not keeping Tex out though. I mean the first thing that they do is use Caboose for target practice. Considering what we find out later, there is another way to interpret this. But the Blues need Tex to get back their flag, and they have a very simple plan: go murder everyone and get it. Bloody... but hey, points for simplicity. Meanwhile, Grif gets the blame for the Warthog and yelled/shot at by Sarge. Donut is lamenting wanting his own armor color... before getting grenaded by Tex, who knocks Grif out and Simmons... meh, he just faints. All as the Blues watch the carnage from the safety of their base.

Tex returns the flag to the Blues... somehow without leaving Red Base. Weird. But that’s not all that returns, so does Church! Needless to say, he’s not happy when he realizes that his teammates completely ignored what he said and let Tex get very much involved in the conflict. Speaking of Tex, Sarge is able to catch them and knock them out. Grif and Simmons get back up, the latter denying that he fainted. Donut is still down and heavily injured cause a grenade to the HEAD at POINT BLANK RANGE is totally survivable, but if they move fast, he can get treated and recover, so they go look for Sarge.

Lets go check back with the Blues, who have realized that Tex has been captured. Church is annoyed and Tucker brings up his previous comment about Tex being why he didn’t marry his girlfriend. This... isn’t the exact truth. This leads into the biggest plot twist of the season, one that Burnie came up with shortly before the episode’s release. So that girlfriend of Church’s? Turns out that is Tex. Yep, Tex is a girl. We confirm this when she gets back up and a voice filter she was using to sound masculine shorts out, revealing the voice of Kathleen Zuelch (Gynda Goodwitch in RWBY). Much to the Reds shock.

Church goes on to explain Tex’s deal. You see, she had been recruited into a secret military program and given an AI. This AI caused spikes in anger and aggression levels, turning Tex into a violent, bitchy killing machine. Still, Church does care enough that he rallies the others into mounting a rescue. How? Well Church plans on breaking into the Red Base, which with him being a ghost is the most logical option, while Tucker and Caboose play distraction. To help with this, he has the two go through the teleporter to turn their armor back. Yeah I glossed over this, but Freelancers supposedly dress in black armor. This gets majorly retconned later though.

The plan ultimately works pretty dang well. The Blues distract Grif, Church possesses Sarge (which Burnie’s impression ALWAYS kills me), who goes down and knocks Simmons out... again. Well it wasn't by fainting this time. Tex... takes this this all pretty well. The two make their escape, but Caboose is unaware of the possession and... ends up shooting Sarge. GDI Caboose. Which then leads us to, what is by far, the most confusing episode of the season. Not the show, oh Season 3 in itself is a major mindscrew, but man does this one hurt my brain.

So after being shot, Sarge wakes up in the afterlife where Church also is. Oh, Shelia’s there too and Church isn’t happy about... you know, her killing him and all. So Sarge is currently in limbo as in the real world, Grif tries to save him... with CPR... on a head wound... yeah if you wanna survive Blood Gulch Chronicles, then you are going to have to throw logic COMPLETELY out the window. Trust me, when you do it makes it more bearable. This works, again forget logic, and Sarge wakes up good as new. He still berates Grif for it though, even though he just saved his life and all. At least Church and Tex got away alive... okay Church is technically dead, but just... just go with it!

Sometime later, Donut is back and recovered. He also has his own armor color now! Pi... I-I mean, lightish-red! Sarge also has obtained a speech unit for a Red member that I haven’t talked about yet because he has done absolutely nothing. Lopez, the group’s mechanic who as it turns out is a robot. Up until now he had zero lines and no overall relevance to the Reds antics, so I didn’t feel the need to bring him up. The speech unit works... except only in Spanish. I watched a recent RT Podcast the week before Christmas and Burnie, who also voices Lopez (yeah he does a good amount of voices, I think he did Tex’s voice filter too), got the idea from talking toys that would get stuck on the wrong language setting. When he explained that, it made SO MUCH MORE sense. So no one can understand Lopez and misinterpret everything that he says, a running gag for the entire series that’ll be better utilized in later seasons.

Over on the Blues, Tex is convinced to stick around until the Reds are taken out. as repayment for saving her. Why are the Blues keeping her around? Well Church wants to get the AI out of her head still and that would be kind of hard if she left. Plus forcing her when he can’t even fire a gun properly would not end well. They get Tex to work on repairing Shelia and Church finds that his body is still where he died. Worst, it’s rotting. Eww!! So a bit of a snag comes up. You see, when the Reds are dead, Tex will leave. Church can’t have that happen, so that means that he needs the Reds to stay alive. Since Tex almost has Shelia operational and will strike with her when done, he decides to go and warn them, leading us into the season finale.

Church leaves the Blues to update him on Tex as he goes to the Reds. He takes over Lopez and tries to warn them of the attack... but since Lopez can only speak Spanish, it goes about as well as you’d expect. Tex finishes Shelia and makes her move. Tucker allows Caboose to radio Church over this, a point that we’ll get to later. Church can’t properly convey that his warning failed and Tex proceeds to open fire on the Red Base. Well... shit. The now repaired Warthog fails to help, so what can stop Tex? As it turns out... Donut! He gets what may be some of the best karma upon someone ever, managing to throw a long-distance grenade into Shelia, causing her to explode and promptly kill Tex... for now.

Church, mortified, runs to Tex, leaving the Reds confused. In her dying breath, Tex confirms that the AI is gone and thanks Church. So that leaves the question, what happened to the AI? We find out soon enough. Tucker, realizing that things have gone to Hell, tells Caboose to fall back to Blue Base. But Caboose turns towards the camera, his voice becoming noticeably more menacing as he insists on being called O’Malley. And thus, Season One and the first part of The Blood Gulch Chronicles, comes to a close.

Review

(WARNING: POTENTIAL SPOILERS FOR LATER SEASONS)

Phew! That was a LOT of typing! For Blood Gulch, I’m going to be covering each season in their own post unless it looks necessary otherwise. Mainly because out of the current arcs, Blood Gulch is the least story heavy and the hardest to talk about due to it. But that doesn't mean that there’s nothing to say about it. But, as the warning above indicates, I’m going to bring up later seasons, but I’ll try not to give too much away. So... lets begin with...

Machinima

I couldn’t find a good place to talk about this in the overview, so we’ll do it here. For those unaware, RvB is not a traditionally animated series. It is created via use of machinima. According to Wikipedia, Machinima is “the use of real-time computer graphics engines to create a cinematic production. Most often video games are used to generate the computer animation.“ In short, it means taking an engine like say an X-Box and using a program like say Halo to create the graphics.

Now there is some belief that RvB is the first to do this, but that isn’t true. This method has existed since at least the 90′s, although it didn’t get the name ‘machinima’ until the early 2000′s. But what can be said is that RvB took the concept and made it work on a mainstream level. No one else was using machinima on the scale that Rooster Teeth was. The only other notable works I could find before RT’s influence was some short films using a video came called Quake, which was the first machinima to be created. I think it’s safe to say that no one had tried making a full-fledged continuous series out of it, or at least no one was hugely successful. It’s also not exactly an easy process, especially in 2003. For example, if you leave a character standing too long they’ll do a default motion as programmed into the game. This can kill a scene and therefore the machinimators will be forced to start all over again. If you have three or so characters all in the same scene and just one does this or you make even a minor mistake with the controls, you have to start from scratch. How Burnie and Geoff did this and lived I’ll never know. Just imagine how it is in later seasons when more characters are brought in, ugh...

The guys used the original Halo for Season 1 and years later would make a remaster. So as far as the machinima goes, it’s done pretty good. They’re limited in what they can do n some shots looked weird, like how when Tex’ filter shorts out she’s facing the Reds, then in the next shot is faced away form them. So that can be kind of jarring, but nothing that really throws off anything. About the only thing I hated looking at was VIC, who is more uncanny here than in any other season. But meh, his scenes are brief so I can live.

The graphics... have not aged well. This is not RT’s fault, the original Halo is nearly 15 years old and was part of the first generation of XBox. It’s not going to like Final Fantasy, is all I’m saying. Blood Gulch nowadays looks... IDK how to describe it. The settings look more realistic and less bulky and cheap in later seasons, though granted we get more than one location in later seasons. We’re limited to only the box canyon here. But again, I’m not expecting Pixar-quality CGI, so it doesn’t really take away form anything.

Writing

Like I said earlier, episodes were written shortly before they were set to be released. There was also no long-term plan, so Burnie was pretty much making things up as he went along. I mentioned Tex’s gender reveal, but things like Church being killed and in turn the ghost thing were not planned. They were conceived essentially on the spot. Normally, this kind of production style would murder a production. But... I’m not gonna lie, the writing is not bad. Yeah there’s stuff that breaks my brain like the ghost thing and Sarge in the afterlife, but there do get explained in later seasons and humor is subjective, so it might just be me.

Because of machinima’s limitation, the script and writing was probably the most vital thing. If people didn’t find it funny or engaging, then they weren’t going to watch it. This is a very dialogue heavy show where the lines and interactions are what tells you about a character and what they are feeling. Since the character models... you know, have a helmet covering the face and body language is near impossible, you can get why. And the dialogue is pretty good. Tucker’s en about women hooking up like Voltron cracked me up. Oh that’s one thing, the series relies heavily on black humor that wouldn't be out of place in South Park, so... be prepared for that.

BGC is very comedic focused. There is a plot and there are elements that later seasons will heavily rely heavily on. But the comedy is ultimately what comes first. There's a lot of jarring things as I mentioned, but I can say this. They do put many of these things to good use. For example, the teleporter turning armor black. I guess that may be a joke about Halo that I don’t get, but Church later utilizes this to create a distraction. Church is a ghost, and he uses this twice ti limited success. Church mentioning a girlfriend was done to have Caboose make a slut joke, and then it turns out that Tex is that girlfriend. Considering how the writing schedule was, it’s impressive that Burnie was able to take so many little things that were jokes and utilize them for the plot later. Looking back, it’s like a precursor to the decisions he makes for the Recollection trilogy, but that’s for there and not here. Still, kudos for taking those elements and making something out of them. That’s the kind of writing I like to see!

But as I said, the plot is secondary. Season One relies heavily on it’s character and the shenanigans they get into. The plot is kicked off by Donut mistaking Blue Base for a store when Caboose was conveniently told that the make-believe general didn’t look like a Blue. Pretty contrived when you think about it. The biggest plot twists were Church’s death and Tex being a girl, which again were split second decisions. It helped keep things interesting, but it shows that not a whole lot of thought went into the story. Ultimately while the show is genuinely funny, knew how to use certain bits to it’s advantage, and had those two twists, I don’t thin that the writing is exactly what got the show to succeed.

Audio/Voice Acting

We already went into the audio, and how it’s not very good. But the voice acting... is not much better. Aside from Joel and to a degree Matt, none of these guys are actors. So it is not at all a surprise that the voice acting is below average at best. I can tell that they’re trying, but... it comes off as empty and unmotivated a lot of the time. The best of the bunch are Burnie, Kathleen, and the aforementioned Matt and Joel. And even then, it’s weak compared to later on. I’m not saying that the others are bad, it’s just obvious that they were new to this at the time. I mean here’s a video of Gus and Geoff’s first recording session.

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If you’re not distracted by how young they are (seriously, QUIT GETTING OLD), Geoff missing about 90% of his tattoos, and Gus’ lack of hair, you can tell that they have zero idea what they are doing. I can’t blame them though, this is the very first session after all and again they are trying. Matt, Joel, and Kathleen were also working out of California so I can only imagine how tough getting the proper direction for them was. All of them do improve MASSIVELY though as the series goes on, Heck Season 2 is noticeably better but more on that then. I think another big reason on why it was lacking is because aside from Matt, they aren’t really playing a character so much as exaggerated versions of themselves, so they don’t have as much to work with. Hence why it’s good that Burnie fleshed them out in Season 2.

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The show’s music is... actually pretty good! There’s not a lot, mainly just guitar rifts used during season transitions, but they’re work. They have a folk music feel to them (or in the Warthog theme’s case polka) and I’m not normally a huge fan of that genre, but here it works. The shows intro, Blood Gulch Blues, it itself is really catchy and fun to listen to. The music was done by a group called Trocadero, who would do several other seasons. Now do I consider this to be the best music in the series? Well... it’s good, but no. Later seasons have a lot of really good tracks. But still, the soundtrack is nice to listen to and I really enjoy it!

Characters

To me, what makes or breaks a show is the use of it’s characters. A cliched story can be good if it’s both told well and if it’s character are utilized well. The cast here have a range of personalities and no two are the same. That said... they’re definitely not that fleshed out yet. There’s a few tiny things here and there. Simmons is a kissass to Sarge, Tucker makes the comment about using the tank to pick up women, Caboose is... not the brightest crayon in the box, but it’s not what defines them initially. Grif might be the biggest example of this I can think of. Later seasons establishes him as a fat, lazy slob who proudly shrinks his responsibilities, steals rations, and will eat expired food if he feels the need. Here? He... actually is trying to do his job with minimal complaint. I mean one of his lines in Episode 1 has him refer to joining the army to kick alien ass. He would NEVER say that nowadays.

Since I’m already talking about Grif, we’ll start the deeper looks with him. Grif is my favorite character in the show, albeit it took until Season 15 to set that in stone. So going back to now helps put things into perspective for me. As I said, the characters aren’t all that fleshed out yet. Grif is definitely the most laid back of the Reds, but again he’s willingly doing his job. He doesn't really display much of his more lazy characterization that we’re used to. The worst thing he does is leave Simmons to be killed by the tank to save his own skin, which yeah is a pretty shitty thing to do. None of these characters are exactly the most moral, to put it lightly. Back on topic, Grif’s the one who has them go get Donut, makes him go back to base, actually tries to get at the Blues before Shelia came, and even tried to save Sarge, I honestly believe that after Sarge got after him for using CPR, he decided ‘fuck this, I’m gonna get shit on no matter what the fuck I do, so I’m gonna do whatever the hell I want. It’ll make Sarge and Simmons pissy either way, so why even care? I’m just gonna do whatever the fuck I want and they can suck it up!” If that’s true, I can totally buy that and I’m sticking to that. But otherwise, Grif doesn't o very much aside from being the Red’s punching bag. Poor guy.

Simmons also does not do a whole lot. We do establish very quickly that he’s a kissass to Sarge’s command and he and Grif have this weird love-hate relationship. I can't think of too many nerdy moments for Simmons this season, IDT that really comes out until next season. Maybe even Season 3 when he’s fiddling with the portals. I could easily just be forgetting though. He’s kind of an arrogant dick, but he doesn't do anything that really makes him unlikeable. Maybe yelling at Grif about the Warthog, but Grif left him to die... yeah I guess I can’t blame him there... sort of. But otherwise, Simmons isn’t given a whole lot to do aside from arguing wit Grif and siding with Sarge. What I can say that him and Grif’s interactions were probably one of my favorite things in the season. The banter and chemistry between them felt really natural and I snickered at a lot of their bits, like arguing over Simmons fainting. This is probably because Gus and Geoff IRL are best friends, so I can imagine that their dialogue just wrote itself. But it’ works really well and helps make these two likebale despite both being assholes.

Sarge is still the leader and the one most determined to kill the Blues, but it’s definitely not as insane as later. The voice very much reflects this. Sarge has a very exaggerated southern accented voice in the show... except here and the start of Season 2. The southern accent is still there, but it’s mroe... .subdued? Laidback? Normal? IDK the right word, it’s definitely less exaggerated though. It was so jarringly different that I wasn’t sure if it was Matt still doing the voice at first. Sure enough it was still him. I can only assume that when they made Sarge’ murderous tendencies more exaggerated starting next season, Matt felt the need to do the same with his performance to reflect the character, And thank God for it. It felt so wrong here. Matt was probably the best actor, but that’s because he’s the only one given a character. As I said, Burnie essentially write exaggerated versions of his co-workers. Matt, as far as I know since I don’t work for him, isn’t a southern-accented drill Sargent. Anyone who works at RT reading this, please feel free to correct me. But anyways, Sarge is the leader, hates Grif, and is probably the most competent fighter among them, though not by much. Not much else to say otherwise except kudos for getting the most confusing scene in the season Sarge!

There’s even less to say about Donut and Lopez. Lope.... does nothing except fix the Warthog and shoot at Grif once. He eventually gets a speech module that only works in Spanish, and that only serves to make Church fail to warn the Reds. That’s it. Donut is the rookie who has no idea what is happening. He, next to Grif, is also the most different form later. he’s... normal here. I don’t recall him spouting even one innuendo an Dan’s voice is a lot less high pitched than later. He kicks off the plot by accidentally stealing the flag and is ultimately the one to defeat Tex. Which I will admit, was awesome and it was very fitting. But otherwise, Donut doesn’t get much to do here... or for much of the series infact. And don’t get me wrong, I like these characters and find them fun, but from a story perspective... yeah these two in particular aren't given much. But we’ll focus on that in later seasons.

As you may have noticed, the Reds don’t have much story going on.. and don’t for the majority of the series, sadly. They’re just the opposing force/comedic relief essentially. The Blues are the ones who move the story... well most of them. Tucker moves it the least, so we’ll start with him. He’s essentially there to be someone that Church can bicker with when not pissed at Caboose. In this season, this makes him the least interesting compared to Church with his ghost development and relationship with Tex, the badass Tex, and the dim-witted Caboose. His defining trait of being into women isn’t even really here aside from the earlier stuff with the tank. He will have more time to shine and show his competence, but that’s really not going to be until he gets the sword. We’re going to be waiting a while. But as with Grif and Simmons, the banter between Tucker and Church was really good and it worked. I can say the same for Tucker and Caboose as well.

Speaking of Caboose, he’s still an idiot... but not as badly. I mean Joel’s not even using the 'act like I’m taking to tiny animals’ voice that we’re familiar with. He’s using his regular voice. While Caboose is still obsessed with Church being his ‘best friend’and a dimwit, such as shooting Church when possessing Sarge, it’s not even close to what we’re used to. he has common sense and some train of thought for one, such as getting the idea to use the tank. It backfired horribly, but he recognized the danger. Now there is a potential in-universe reason on why Caboose became dumber, but we’ll cover that next season. For now, Caboose is at worst dimwitted and frustrating to Church, but hilarious for us. He’s still the character that I laughed at the most.

Tex comes in later, but she’s drastically different form the others. Not just because she’s the only girl either. She’s the most violent and willing to kill. I mean even Sarge hasn’t exactly done anything as brutal as hit a Blue with a grenade at point blank yet. Part of this can be blame on the AI making Tex more vicious than she would otherwise be. Personality wise, she’s no-nonsense and serious minded, there to get her job done as quickly and effectively as possible. She’s easily able to take on the Reds and only loses due to Sarge getting the jump on her... and even then she got the flag back tot he Blues so she didn’t exactly fail. She’s a tough person and doesn't have the best attitude in the world, even without the AI. She;s awesome and her arrival is ultimately the biggest story element. Her and Church's relationship is funny and really interesting, which helps both characters. Whether her feelings for Church are genuine or not, or even existent, isn’t expanded on here. But I do interpret her shooting Caboose as ‘practice’ as her getting revenge for killing him to begin with. Add that to her dying wors to him and... yeah I’m sure she does in her own way.

Finally that brings us to Church himself. Church is ultimately the character who pushes the story along and actually gets the Blues to do something. He’s a snarky asshole, easily frustrated and annoyed. He’s the straight man to Tucker pestering him and Caboose being... Caboose. His death is one of the biggest things to happen in the season and even in death, he pushes things forward. His relationship with Tex, he’s the one who plans her rescue, he’s the one who carries it out, and he’s the one most motivated to get rid of the AI. Lets face it, Church is the most proactive character and the one who ultimately keeps the plot moving forward, It’s why he was my favorite character in the beginning... that and Burnie being the only person I really recognized aside form Joel due to RWBY. Church is definitely who’d I consider the most well-written and relevant character, especially with what happens later and the closest thing that we have to a lead character.

Final Thoughts

Man, I did NOT expect this review ot get so long. I mean it took up 18 pages in my notebook, but still...

Ultimately, I don’t thin that Red vs Blue succeeded due to it’s writing or vocal performances. No, I think what made this work was both luck and being innovative. As I said, machinima existed, but not tot he scale that RT was putting it out. I think them choosing Halo, a popular game that was new at the time, really helped them. It also helped that they had somewhat of a fanbase due to their previous work on the sadly dysfunctional drunkgamers.com. Which, as the title says, has a bunch of drunkards reviewing games. Think of it as a sort of precursor to Achievement Hunter. They also released a parody video of the then new Apple Switch, as seen here:

youtube

Sheesh, and I thought Gus looked young in the recording session video... but my point here is the show was a success for several reasons. They took an obscure media form and did something different with it, took advantage of the open opportunities (Halo’s popularity, their previous fanbase.) They were also very lucky when it came to copyright. Yes even then, when Youtube didn’t exist, they could have gotten into legal trouble for making this show. Fortunately, Microsoft and Bungie liked it and allowed them to continue without paying a fee. How the deal works nowadays IDK, but I’m assuming that things are good since it’s still being made and all.

Season One proved to be a major success. It drew in Halo fans and fans of their previous drunkgamers efforts. Now IDK how things worked in 2003, I was only 10 and had no idea how to use the web was was too young to watch RvB anyways. However they counted views or whatever, it worked. It launched machinima to a more mainstream market and they even got interviewed by CNN and other news groups. Rooster Teeth very quickly became a spearhead in the world of web content, and they’d only grow form here. Season Two was a guarantee, especially with a cliffhanger that would keep viewers interested. But we’ll discuss all of that in the next review.

#rvb #rooster teeth #red vs blue #rvb reviews #this took me over two days and a war with vlc to make #I apologize for any innacurate info #but I worked really hard on this and I hope it is a worthwhile read

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